#new essential guide to characters

[leafy-m]

So I hit my 700th edit for the WHA wiki today, because I am a totally normal person

[artblooger19moon]

Pokémon Books that I have read

Pokémon Junior Raichu Show Off Sarah E. Heller

Pokémon Junior Two of a Kind Sarah E. Heller

Pokémon Junior The Wobbuffet Village Sarah E. Heller

Pokémon Junior Nidoran’s New Friend Gregg Sacon

Legendary Pokémon The Essential Guide Sinnoh Edition Katherine Fang

How to draw Pokémon Featuring Sinnoh Characters Maria B. Alfano

Pokémon Essential Handbook Gabrielle Lord

Pokémon X & Pokémon Y The Official Kalos Region Guidebook

[haaaaaaaaaaaave-you-met-ted]

Star Wars: New Essential Guide to Characters - Bria Tharen by Michael Sutfin

[shorlinesorrows]

not me finally developing an inevitable dnd hyperfixation when I have enormous amounts of work to do

[thewriteadviceforwriters]

How To Plan A Book Series: Ultimate Guide

Writing a book series can be an incredibly rewarding experience for authors, but it also requires careful planning and execution. A well-crafted book series can captivate readers, build a loyal fan base, and provide a steady stream of income for writers. However, planning a successful book series is no easy feat.

It demands a deep understanding of world-building, character development, and plot progression. In this ultimate guide, I'll help you explore the essential steps to help you plan a compelling and cohesive book series that will keep your readers hooked from start to finish.

Develop a Compelling Premise The foundation of any successful book series is a strong premise. Your premise should be unique, engaging, and have the potential to sustain multiple books. Consider exploring a complex world, a captivating concept, or a character with a rich backstory that can evolve over the course of several books. Ask yourself: What makes your premise stand out? What will keep readers invested in the story for multiple installments?

Create a Detailed Outline Before you dive into writing, it's crucial to create a detailed outline for your entire book series. This outline should include the overarching plot, major story arcs, character development, and key events for each book. Having a solid outline will help you maintain consistency, avoid plot holes, and ensure that each book contributes to the overall narrative. Don't be afraid to make adjustments as you write, but having a roadmap will keep you on track.

World-Building: Crafting a Vivid and Consistent Universe One of the hallmarks of a successful book series is a richly developed and immersive world. Whether you're creating a fantasy realm, a futuristic society, or a contemporary setting, pay close attention to world-building. Establish the rules, customs, histories, and geography of your fictional world. Consistency is key, so ensure that the details align across all books in the series. Consider creating a "bible" or a comprehensive guide that outlines the intricacies of your world, making it easier to maintain continuity.

Develop Compelling Characters Great characters are the heart and soul of any book series. Your protagonists, antagonists, and supporting characters should be well-rounded, multi-dimensional, and undergo significant growth and transformation throughout the series. Craft backstories, motivations, flaws, and strengths for each character, and ensure that their actions and decisions drive the plot forward. Remember, character development is an ongoing process, so be prepared to explore new facets of your characters as the series progresses.

Establish Recurring Themes and Motifs Themes and motifs are powerful tools that can add depth and resonance to your book series. Identify the central themes you want to explore, such as love, redemption, power, or identity. Weave these themes throughout the series, allowing them to evolve and deepen with each installment. Motifs, like recurring symbols or imagery, can also create a sense of cohesion and add layers of meaning to your narrative.

Plan for Cliffhangers and Resolutions One of the key strategies for keeping readers engaged in a book series is the strategic use of cliffhangers and resolutions. Cliffhangers create anticipation and leave readers craving for the next installment. However, be cautious not to overuse this technique, as it can become frustrating for readers. Balance cliffhangers with satisfying resolutions that tie up loose ends and provide a sense of closure, while still leaving room for the story to continue.

Consider Pacing and Narrative Structure Pacing and narrative structure are crucial elements to consider when planning a book series. Each book should have its own narrative arc, with a beginning, middle, and end, while also contributing to the overall story progression. Vary the pacing between books to maintain reader interest, alternating between action-packed and slower, more introspective sections. Experiment with different narrative structures, such as multiple perspectives, non-linear timelines, or frame narratives, to keep the series fresh and engaging.

Manage Continuity and Consistency As your book series grows, maintaining continuity and consistency becomes increasingly important. Keep detailed records of character descriptions, plot points, world-building elements, and timelines. Regularly refer back to these notes to ensure that you're not introducing contradictions or inconsistencies. Consider creating a series bible or a wiki to help you keep track of all the moving parts.

Plan for Character Growth and Evolution In a book series, characters should undergo significant growth and evolution. Plan for character arcs that span multiple books, allowing your protagonists and supporting characters to face challenges, make difficult choices, and emerge as changed individuals. This character development will not only add depth to your narrative but also keep readers invested in the journey of your characters.

Anticipate and Address Potential Plot Holes As your book series expands, the potential for plot holes and inconsistencies increases. Be vigilant in identifying and addressing these issues during the planning stage. Regularly review your outline and notes, looking for any logical gaps or contradictions. Enlist the help of beta readers or critique partners to provide fresh perspectives and catch any potential plot holes you may have missed.

Consider the Overarching Story Arc While each book in your series should have its own narrative arc, it's essential to plan for an overarching story arc that spans the entire series. This overarching arc should tie together the individual books, building towards a climactic conclusion that resolves the central conflict or mystery. Ensure that each book contributes to this larger narrative, advancing the plot and raising the stakes for the characters.

Plan for Marketing and Promotion Finally, as you plan your book series, don't overlook the importance of marketing and promotion. Develop a strategy for building buzz and engaging with your audience throughout the release of each book. Leverage social media, author events, book tours, and other promotional opportunities to keep your readers excited and invested in your series.

Remember, writing a book series is a marathon, not a sprint, so be prepared to invest time, effort, and dedication into crafting a truly remarkable literary journey. Hope this helped!

Happy Writing - Rin T.

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

[tragicvampireromanceisland]

anyone else remember this weird little show that toon disney used to air back in the nineties?? inside out focused on the lives of the emotions inside the mind of thirteen-year-old riley andersen, as they worked together to guide her through each day. while essentially just being a workplace comedy, the show quickly garnered praise from critics and fans alike for its unique premise, strong and relatable characters, and positive messaging on emotional regulation for its young audience.

at first, it looked like the show was going to become a staple saturday morning cartoon. season 2 even added four new emotions to the original cast of five! unfortunately, it seemed like disney had other plans. clocking in at 52 episodes, inside out only managed to reach around half of the golden standard of 100 episodes for rerun syndication before it abruptly got cancelled. the reason why has been the subject of speculation in hundreds of online forum threads over the past thirty or so years. but who knows! if we drum up some more conversation about it, maybe we can get a reboot!!

[felassan]

Dragon Age: The Veilguard - new map of Thedas + detail shots

Art by Francesca Baerald [source, via]

"Illustrated by Francesca Baerald, this is an ornate piece of art that shows off the various lands of Dragon Age, and each location is enhanced by illustrations of characters, monsters, and dragons. It reimagines the land as it exists in Dragon Age: The Veilguard and it measures an impressive 24 inches in width and 18 inches in height. This is expected to arrive by Winter 2025, and preorders for it will close on November 5." [source] (emphasis mine)

---

"Dark Horse Direct and BioWare are thrilled to release an updated print of our map from the World of Thedas, your guide to the Dragon Age universe. Once again featuring the talents of Francesca Baerald, this 24-inch wide by 18-inch tall depiction of Thedas has been reimagined for the current world of Dragon Age: The Veilguard.   Enter Thedas, a vibrant world of rugged wilderness, treacherous labyrinths, and glittering cities plunged into crisis by the return of blighted gods. As you navigate through new allies and emerging enemies, this beautiful lithograph map will be your essential guide in capturing the darker tone of Thedas at war in Dragon Age: The Veilguard. With eye-catching details and subtle easter eggs for Dragon Age fans, this fine art map print will amaze your companions, whether it is hung on your wall or laid out in the Lighthouse for strategizing. With this map, there will be nowhere in Thedas that Solas can hide.   This map will be a timed pre-order between now and November 5th at 5 PM PST. Add this gorgeous update to your Dragon Age collection today!" [source]

[sonicexelle-junkary]

I’m not surprised that people chose more HungryHero content from the previous poll— and you guys will get that with the illustration I said I was going to make.

But since I had an option regarding an old AU I could revamp for it, I figured I’d share some facts about that said old au for those who are interested.

If you can find his original self, I applaud you.

DISCLAIMER: this au has themes regarding mental disorders such as DID, BPD, (C)PTSD, etc. Disorders such as these are NOT CANNON to the AU as I do not have these disorders (aside from possibly CPTSD) and I don’t feel confident enough to create an au/character with said disorders and keep it as accurate as I can be. Any harmful stereotypes created in this au are purely accidental and it is not my intention to fear monger for people with these disorders. This au is not fully completed and is just for fun.

ForgottenHome (old name) was figuratively an anti version of LostKing set somewhat in the same “universe”. While LK was Scourge traveling through au to au trying to kill Sonic because his home (and him) was erased (and he’s petty), FH was essentially what would happen to Sonic during the reboot— how he would get confused over current and past iterations of his friends and people who may or may not exist anymore. It was a concept that I didn’t really go anywhere with, but I always enjoyed it.

So here we are, the new iteration of ForgottenHome!

The current version of FH is largely the same; Archie gets a rewrite, Sonic gets confused on what is real anymore, he mentally snaps and hurts people. But now there is an extra character into the mix, himself from his early Archie days (before the SA1 design change (Classic Archie if you will)).

This version of himself is purely hallucinatory— only viewable to Sonic himself— and while he does generally act as a “guiding light” for him, because of his mental state, Sonic views him more as mockery— something he once was and now has soiled— and he does act this way, mocking him for what he could’ve been.

A lot of Sonic’s “outbursts” are often triggered by his hallucinatory self, along with the sight of the SatAM cast. Luckily, he hasn’t outright killed any of his friends during these, but he’s came close each time. He doesn’t know if he should feel bad or not regarding these “outbursts” since he can’t tell if his friends are real or if they’re even the “correct” version of them.

A very sad boy I’ve been thinking about. Perhaps he’ll have a happy ending someday. Who knows.

[sleepynoons]

togame x afab!f!reader (characters aged up), nsfw, 18+, not beta read

cw: marathon sex, unprotected sex, oral (receiving), slight face riding, subdrop + dubcon (not intended but could be interpreted as so), one slap on the ass, cum eating, fingering, descriptions of violence + pain + blood

notes: the underground fighter/fight club!au that no one asked for. i've never seen the movie either, so literally, take everything – especially the fight scene in this one-shot – with a fucking atom of salt. i was inspired by this lovely art, and since the manga mentions that togame has limitless stamina... well, i kinda had to do something with that info...

YOU'D EXPECT your boyfriend to be tired out by now. in fact, if you were him, the two of you would have gone to bed hours ago, deep in slumber from the day’s excitement and exhaustion. instead, you’re splayed out on the bed, arms boneless next to you and mouth releasing tired whimpers, as your body rocks along with every deep thrust from jo.

his hands hold onto your hips tightly, pulling you back as he pushes forward, attempting to bury himself ever deeper into you. jo’s always been competitive, and paired with his methodical nature, he’s obsessed with trying to bring the two of you to new heights of sexual pleasure.

how did the two of you end up like this?

your brain’s hazy, clouded by the feeling of jo’s cock kissing that sweet spot inside of you and his teeth nipping and biting at your neck and shoulders. but you try to recall, as a means to hang on, to stay awake for just a little bit longer.

you were invited to watch jo fight for the first time. you weren’t particularly fond of supporting violence, but he had insisted it was something of a casual community event, and it was good for some extra cash and fun prizes. it was also an important part of his life, and since the two of you’ve been dating for a few months now, he wanted to bring you along to meet some of his friends.

when both of you were driving to the club, hosted in an abandoned warehouse on the edge of town, you asked, “aren’t fight clubs illegal?”

he shrugged and said, “number one rule of fight club: don’t talk about fight club.”

you snorted and rolled your eyes. “you already have.” jo chuckled and answered all the questions you had until the two of you arrived.

he guided you toward the entrance and showed you around, pointing out a few coolers for drinks, the bathroom, and the arena itself. several people were already there, catching up and placing bets on the night’s matches.

as you walked around, you overheard someone say, “all my money’s on togame.” you glanced at your boyfriend, but he made no indication that he had heard anything. 

after being introduced to a few of jo’s friends, it was almost time for the match-ups to start. he had explained to you earlier that he would have to leave you unaccompanied as all participants were required to prepare for their rounds in a large storage room, which was essentially a smaller, neighboring warehouse unit. you reassured him that you would be fine, and in the worst case, you would wait for him in the car.

the fights shortly began after your boyfriend left. you watched as challengers came and went, some throwing punches and kicks at each other while others with more experience used their wits and specific techniques. you cringed as fists collided with jaws and feet were swiped off the floor. but everyone, including the fighters, seemed to be enjoying themselves, so you remained in your seat.

after four matches, it was finally jo’s turn.

like all of the other fighters, jo was shirtless and barefoot. everyone in the audience seemed to roar for your boyfriend as he made his way into the ring. when he stepped into the light, you sucked in a deep breath, a little shocked and in awe.

you had never seen jo so excited about anything in his life.

the jo you knew ate so slow that all the food would be cold by the time he was half-finished, preferred to nap on a beach chair instead of swimming in the pool, and hosted gatherings with friends at home to avoid clubbing and drinking out. the person you’ve gotten to know in the past few months seemed to be a wholesome, harmless dork.

but this jo didn’t even spare you a glance. now that he was standing in the ring, he was laser-focused on his opponent, eyes wide with dilated pupils and a wild, animalistic glint in them. it became abundantly clear to everyone in the audience that, no matter what, jo would win.

apparently, jo had amassed quite a bit of a reputation for himself, hence why the fight club was so packed. the hollers and howls from the spectators escalated as jo exchanged blow after blow with his opponent. you watched as your boyfriend ducked a swing, shifted his balance and stepped on one of his opponent’s feet, effectively immobilizing them for a second, before using his shoulder to jab at and ram into the opponent’s solar plexus. the other stumbled back a bit before managing to land a heavy kick to jo’s side, and despite knowing it would leave a nasty bruise, jo didn’t flinch and instead lunged forward, landing a series of punches in quick succession to the other’s face. in a few moments, his opponent surrendered. you finally allowed yourself to breathe, only noticing then that you barely did throughout the fight.

as the referee held up jo’s arm to announce his victory, he finally looked around in search of you. your boyfriend must’ve noticed your stunned expression, so he cocked his head and discreetly nudged his chin towards the exit. intuition told you to wait for him outside.

as you rushed outside, jo easily caught up to you, spinning you around and pinning you to the car. you squeaked as he kissed you deeply, taking away the air you just managed to regain, and pressed his body against yours, the smell of sweat and rusting blood piquing your senses. when he broke away and you thought you had a moment to recollect yourself, he dove back in, sucking on your lips till they bruised and swelled and brushing his hands against your ear, knowing that the touch made you shudder and buckle at the knees. even when your legs gave way, he didn’t relent, and you had to gasp out a “it hurts!” for him to pull away. you watched as he let up, and when the two of you were face-to-face, that wild glint you saw earlier was still apparent in his eyes. but his usual lazy smile returned as he apologized and rubbed at the spot where the car door handle was digging into your skin.

you can’t seem to recall your return home, and even then, you only remember jo haphazardly unlocking his door as you clawed at his t-shirt to take it off. you were still oblivious then to what the night actually held in store.

you’re brought back to the present when jo’s arm suddenly wraps around the front of your shoulders and chest and heaves you up. now, your back is arced backwards, and the slight shift in angle causes you to mewl in pleasure. you’re starting to see white spots in your vision with the way his thick cock stretches your walls apart and pokes at new spots in you that you’ve never discovered yourself.

between pants, jo gulps and asks, “what are you thinking about? am i that bad?”

you want to object, but then he gives you a harsh slap to the ass cheek with his other hand that effectively silences you.

“princess, i won just for you, so give me some attention, yeah?”

you manage to choke out, “for me?” jo reaffirms by pulling almost all the way out, leaving only his tip inside you, and then thrusting himself in again heavily with force so strong you feel it rattle throughout your body. you’ve always known your boyfriend is strong, but today’s fight and sex have exceeded your expectations. you cry out shamelessly and cum unexpectedly that even jo releases a guttural moan when your pussy clamps down on him, and he also finishes.

you collapse onto the bed. faintly, you hear jo apologize, “shit, sorry, babe. didn’t mean to cum inside of you.” he helps you roll over so that you’re lying on your back, and picks your legs up to slide you fully onto the bed. you think it’s the end.

but suddenly, the bed dips at where your feet lie, and your legs are pried apart. jo lines firm kisses along your inner thighs, and you whimper at the feeling of his fingers playing with your folds. he slides the fingertip of his index finger up and down between your folds, causing you to jolt whenever he flicks at your clit.

“jo…,” you whisper. you rest your hands around your boyfriend’s neck, holding onto him in hopes of grounding yourself.

“how about one more, babe? just one more,” he pleads, transfixed at the sight of your messy, wet pussy. his want hasn’t been satiated. he needs to feel you one last time. he begs again, “i won’t put it in, i know you’re sore. i’m going to clean you up, alright?”

the feeling of his warm tongue against your hole erases all of your thoughts and concerns. he’s careful, aware that you’re spent and overstimulated, and he laps at the mixture of his and your cum spilling down and onto the sheets. when he feels your body tensing up, he pauses and presses feather-light kisses instead as he waits for you to relax once more. he then mouths at your folds, sucking one into his mouth and licking softly, then switching to the other. you’re both moaning at the sensation – you because every suckle brings you closer to your high and him because you taste, smell, and feel so sweet and delicious against his tongue. finally, he reaches the top and spreads apart your lower lips with two fingers, admiring the sight of your pert clit throbbing in anticipation and need.

you groan, eager and impatient, when jo stares for too long. you scratch at his undercut to get his attention and whine, “jo, hurry! want your mouth on me!”

obediently, he dips down and gingerly kisses your bud. you shiver at the light touch and cant your hips upward, urging him to continue. jo resumes, alternating between gentle pecks and quick sucks of your clit, which leaves you writhing and compounds your arousal. occasionally, he even hums, and the vibrations pinch at your bud and you yelp in surprise every time. you’re no longer holding onto his shoulders – you’re grabbing and tugging at the curls of your boyfriend’s hair and pressing your clit against his mouth and nose, desperate for release. jo supports your movements as his large, calloused hands cup your ass. lastly, jo adds in his tongue. the erratic, unpredictable switching between all of the different ways he can tease your oversensitive nub quickly sends you over, and as you scream and cum, your thoughts are fully consumed with the sensations of his mouth drinking up your release and his nose nudging against your clit to extend your climax. you’re wantonly rubbing yourself against jo, smearing your pussy messily against your boyfriend’s face, and your eyes roll back as he just takes it and laps at what he can.

“you’re so fucking good to me, princess,” he moans into your pussy. from his words, you feel one last crashing wave of your orgasm, pleasure overwhelming you for a little longer, before it begins to subside.

seeing that you’re coming down from your high, jo pulls away. he licks at his lips, savoring the remnants of your high, and watches as you begin to drift off. jo himself is finally feeling the drowsiness and settles next to you.

even as you’re losing consciousness, he whispers, “this is the best reward, baby.” you nuzzle into his warmth, mumble something incoherent, and fall asleep.

[yawujin]

bwaaaah hetalia allies with s/o who's a virgin /// or, nsfw for their first time OUUUGGH!! also, what's ur limit for how many characters u write? I'd ask for both allies n axis but don't wanna bombard that many on u !! ^^

don't worry about that, i got youu ദ്ദി(ᵔᗜᵔ) enjoy!! 🤍

hetalia allies & axis | first time 💭 . ★⋆. ࿐࿔

type | nsfw , smut , they/them pronouns used , established relationship , light hearted , first time trope

allies ♥︎

america/alfred f. jones

he's really excited and is prone to getting carried away.

it will take direct communication from his s/o to get him to calm down and take things slow. he can respect that, so he does.

he's making sure to be careful in everything he does, tracking his pace so he goes slow enough to not overwhelm them but fast enough to not bore them

he really really wants their approval...so he's doing the best he can (he wants that sweet praise after all is said and done)

england/arthur kirkland

he's like really anxious so if they're able to help him through that, that would be really great

he just has this fear that he'll hurt them so he is really gentle, it's an expectation that he's aware of so he just automatically does it

he's very encouraging and accepting towards mostly anything his s/o does during sex. he's the type to urge them to let it all out if they want to moan but are holding back. he also really wants them to grab onto anything of his, really. but only if they want to

he'll want to hurry and get them cleaned up as soon as they both finish, so they don't have to feel uncomfortable...especially after their first time

france/francis bonnefoy

he makes it very sweet, very loving, and makes sure that they feel comfortable before they even begin.

he'll give them words of affirmation, and letting them know they're free to back out at anytime. "if you want a break, just say the word and we'll have a break." france kisses their cheek

he's very vocal, complimenting them on their expressions, sounds and on their figure.

afterwards, he'll want to lie down and hold them. he'll tell them just how much he appreciates them and say what his favorite parts were. he'll ask them what theirs were, too.

canada/matthieu williams

he's shy but not anxious. being gentle is in his dna, so it comes to him automatically

"i never want you to feel uncomfortable..." he says. his voice is soft and sweet.

he's the type to guide them through it, putting his hand on theirs and placing it somewhere on his body. it's especially helpful if they're the type to not know where to touch.

i feel like he'd want to kiss them a lot, but he understands if they don't want to or get overwhelmed.

russia/ivan braginsky

first of all, he puts in effort to not look scary because he knows he can be intimidating

and since sex can be intimidating to some, he really tries to get them to have fun with it

he tries to do the same, and not take himself too seriously

he saves the sweet talk for after they both finish. for now, he wants to savor the moment with them and moan into their ear, watching how they react to all of it, all of him. he likes the fact that it's brand new to them, but he'll like it even more if he can please them...so he focuses on that.

china/yao wang

he's very well versed in helping people feel relaxed, especially during a moment that can be so overwhelming for some.

of course , it helps that he's experienced, too. that way he can reassure them and promise that he's going to make his s/o feel great

he's already prepared the essentials (i'll leave it up to the readers to guess what those are winkk)

he knows already that he's going to need to take things easy at first. it's really fortunate that he's good at tracking his pacing, and reading expressions. he keeps asking them if they feel alright, and if it's okay for him to continue. if they consent, he'll give them a quick kiss on the forehead before going back to what he was doing.

axis ♥︎

north italy/feliciano vargas

he's all smiles. he's just happy that he gets to be their first.

he's excited!! but he respects them completely, so he asks what exactly they want to happen.

italy is here to fufill their wishes. and that he does.

he can't help but hold them tightly in the heat of the moment, going in for a quick collection of kisses before pulling away for some air. he's getting desperate but he asks for permission before doing anything else.

germany/ludwig beilschmidt

he's nervous ngl but he knows what to do so he approaches this *situation* practically

he prolongs the foreplay just so he can give them a taste of what's to come also so he can get an idea of what they might like or dislike

he overthinks a lot of what people say and what their body language is so he takes that into account before they begin

he's the one to ask: "can i do this?" "is this okay with you?" before going any further. if they didn't know any better they'd think it's his first time with the hesistant way he goes about this (it's kind of sweet, since he's usually so direct)

japan/kiku honda

he's very sweet towards them, now more than ever

he says it's okay if they're nervous, but he really wants to know how they want to go about this

he urges them to talk about exactly what they want, so he can give it to them just as they prefer

he delivers; making them feel cared for from the very moment they start making out to the final moments where he's looking at them, even if they're too shy to maintain eye contact

prussia/gilbert beilschmidt

similar to his brother germany, prussia is direct and he uses this as a guide for them

he gently asks them if they can do a certain thing, letting them ease into it and letting them take the lead without so much pressure. he reminds them they can say no if he unknowingly asks too much of them

he does this because he'd rather not risk coming on too strong (he doesn't want to let his eccentricity get the better of him and overwhelm or scare his s/o ☹️)

he's happy with whatever they want to do and gives them a little bit of praise to encourage them further

south italy/lovino vargas

he tones down his usual blunt and outspoken demeanor just for them, reminding them that it's okay not to take themselves so seriously

he uses touch as a way to soothe their nerves, constantly holding any, and every part of them in one way or another

he goes ahead with touching them in the typical ways most people like, but tells them that they should let him know if they don't like something right away

as he gets accquainted with everything they do like though, he'll tell his s/o how amazing they feel, on almost every part of their body.

[cdlum]

I just wanted to say I think your art style is awesome! I was wondering if you had any tutorials on how you draw anatomy in your style (hips and legs especially)? Sorry if there's already one posted and I just didn't see it 🥲. Happy New Year :>

thanks for the kind words. i tend to draw people pretty stylized and then some so a good bit of artistic licence gets used. these tips are just what i use so feel free to take them with a grain of salt. with anatomy in particular you can kind of talk in circles because human/animal bodies are that complex so ill just zone in on the points you specified. here's a little image with a bunch of pointers:

the above image condenses a lot of the points I'd make, but basically the key parts are to start with the bare essentials and build up that complexity. using a line of action is a good way to get a quick, rough start. you draw a line out in the general direction of the pose and do your best to adhere to it to give the pose a sense of flow.

you can also draw smaller, thumbnail versions that throw a lot of caution to the wind but capture the basic energy of what you're going for. even having a tiny little stick figure version of your idea can make for a good guideline of where to take it forward.

when it comes to actual limbs, you wanna consider how they integrate and work together, kind of like how chains do. you can see on some of the parts of pear i've drawn out these wireframes to kind of portray how the mass of her legs works in a three dimensional space. for aspects like the waist/hips, i use that X technique i highlight above a lot, particularly for the lower torso. a lot of the times, even when drawing a character totally naked, imagining them wearing things like skintight underwear can help a lot to guide you in the right direction.

its also a good idea to consider things like gravity and weight to a degree. humans are essentially big meat sacks and gravity is always pulling down on that, but theres all kinds of aspects that effect that, such as character build or clothing. pear technically isn't naked in this, but i've tried to imagine her as such and take that into account.

if you are drawing digitally, don't be afraid to take advantage of the convenience you get with that workflow. you can retry and iterate on things a lot faster that pen and paper, and do things that aren't really feasible at all when it comes to editing and modifying your existing work. things like resizing certain bodyparts, instantly flipping the canvas, or using selection tools to completely adjust the positions of parts of your drawing. to give you an example heres a timelapse with all the little edits i made just to this demo drawing:

you don't have to use these techniques linearly, either. sometimes ill have a really solid idea for a piece in my head, and go back to basics with certain elements if they’re not coming out right or i just want to brush them up a bit more. some of the tutorial-y parts i added in i didn't actually use during the drawing but often do use so they're there just for demonstration. not every drawing i do starts as building blocks or a really basic version, often ill just start with a face and build it out from there.

i always encourage liberally using references (this can include yourself) and trying out stuff like life drawing or looking at things like existing photographs of real people/places/things if you can, the more you use learning material the better you'll draw up a mental inventory in your head that you can rely on more and more. some of these tips are things i've learned from other artists over the years (the chin one especially i remember seeing a tutorial about lol), so this is a lot of knowledge i've amassed from other sources over time myself. there are plenty of times ill use all sorts of reference material and its all in service of arriving at the final destination as smoothly as possible. learn by doing, as they say. hope this helps!

[gentlekalita]

Painless BDSM Ideas

Today, I’m excited to share some painless BDSM ideas that can enhance your experience without the sting, ensuring you feel adored while still indulging in the thrilling dynamics of power exchange.

BDSM doesn't have to be synonymous with pain. In fact, there are countless ways to explore dominance and submission that focus on pleasure, intimacy, and consent. Whether you’re new to the scene or an experienced player looking to switch things up, these ideas can provide a sensual and enjoyable experience, embracing the softer side of BDSM.

1. Sensory Play

One of the most exciting ways to explore BDSM is through sensory play. This involves heightening or dulling the senses to create unique experiences on your body. Here are a few ideas:

Blindfolding: By blindfolding your partner, you can heighten their other senses. They won’t see what’s coming next, leaving them to focus entirely on touch, sound, and smell. Use soft fabrics to cover their eyes, creating an intimate atmosphere filled with anticipation.

Temperature Play: Introduce sensations of warmth and coolness to create intense feelings of pleasure. Try using ice cubes, chilled objects, or warm oils during massages. The contrast can be thrilling and invigorating without any associated pain.

Feathers and Soft Fabrics: Incorporate feathers or soft fabrics to tease and explore your partner's body. The gentle sensations can lead to a delightful build-up of arousal without any discomfort.

2. Bondage with a Twist

Bondage doesn’t have to mean restrictive ties or painful restraints. Here are some gentle bondage ideas to try:

Silk Scarves or Ropes: Use soft silk scarves or gentle ropes to tie wrists and ankles. This can be more comfortable than traditional restraints and can still give a sense of submission without tightness.

Lightly-Laced Cuffs: Consider using cuffs made from plush materials. These are designed for comfort while still providing that feeling of being held and controlled.

Furniture Bondage: Use household items like chairs or the bed to gently restrain a partner without any pain. Laying them down or binding them to a chair with soft restraints can create a relaxing yet exciting encounter.

3. Role Play Without Rules

Role play is a fantastic way to enter the BDSM world without needing to delve into the more intense aspects. Here are some playful scenarios to explore:

Teacher and Student: Play out a scenario where one person is a strict teacher and the other a willing student. This dynamic focuses on playful dominance and can involve lots of teasing and gentle authority.

Boss and Employee: Engage in the thrilling power dynamics of a workplace scenario. This can add excitement without requiring any actual dominance or submission that might lead to discomfort.

Fantasy Characters: Embrace the idea of being characters from your favorite stories or movies. This can foster a playful spirit while allowing you to explore the dynamics inherent in your characters.

4. Soft Teasing and Often Praise

Encouragement and positive reinforcement play wonderfully into a gentle BDSM experience. Use verbal teasing and praise to create a nurturing atmosphere. Here���s how:

Use Tender Words: Throughout your session, whisper sweet affirmations of your partner’s performance or how much you enjoy their submission. Words like “good boy/girl” or “you’re doing so well” can build confidence and pleasure.

Soft Physical Touches: Gently caress their skin while invoking feelings of warmth and trust. This can include kisses, light touches, or gentle pinching in playful ways that induce laughter rather than discomfort.

Guided Instructions: Gently instruct your partner on what to do, using kind and loving language. This could be as simple as directing them to touch themselves or encouraging them to explore your body while they maintain their submission.

5. Aftercare is Essential

Don’t forget the vital aspect of aftercare! After a gentle BDSM session, nurturing your partner is crucial to ensure both emotional and physical well-being. Here are some ideas:

Cuddling: Spend time cuddled up together, letting warmth and affection flow between you. This can help solidify the bond you’ve created during play.

Hydration and Snacks: Offer refreshments and light snacks to bring energy back. This simple act can feel very comforting.

Talk It Out: Engage in heartfelt conversations about what you both loved about the experience, addressing any concerns and reinforcing the safety and trust within your relationship.

Join Me for More Sensual Exploration!

Are you curious to deep dive into the world of painless BDSM and explore your desires further? I would love for you to join me in my live camming sessions, where we can discuss these themes in real-time, delve deeper into power dynamics, and create safe spaces for exploration together. Check my bio!

[literaryvein-reblogs]

can you do a blog about the main types of book genres there are if you haven't already? and how to know what you're writing?

Types of Book Genres

Mystery. Follows a crime (like a murder or a disappearance) from the moment it is committed to the moment it is solved. Mystery novels are often called “whodunnits” because they turn the reader into a detective trying to figure out the who, what, when, and how of a particular crime. Most mysteries feature a detective or private eye solving a case as the central character.

Thriller. According to the New York Public Library, thrillers gradually build anxiety and suspense. Examples of thrillers include “Gone Girl” by Gillian Flynn, “All Her Little Secrets” by Wanda M. Morris and “The Silent Patient” by Alex Michaelides. ⚜ Psychological Thriller

Horror. “Carrie” by Stephen King, “The Haunting of Hill House” by Shirley Jackson and Edgar Allen Poe’s work are all under the umbrella of horror. These works are intended to frighten audiences and elicit a feeling of dread, according to the CDE.

Historical Fiction. Historical fiction takes place in a historical setting, the CDE notes. Some examples of historical fiction include “The Prophets” by Robert Jones, Jr. and “The Four Winds” by Kristin Hannah.

Romance. Romance Writers of America (RWA) noted that romance refers to optimistic and emotionally satisfying stories that focus on a central love story. “The Love Hypothesis” by Ali Hazelwood and “Red, White and Royal Blue” by Casey McQuiston are both romance novels.

Western. Primarily set in the American Old West between the late 18th century and late 19th century and tell the stories of cowboys, settlers, and outlaws exploring the western frontier and taming the Wild West.

Bildungsroman. Translates to “novel of education” or “novel of formation,” chronicles a character’s journey from young innocence to worldly adulthood. This is a specific type of coming-of-age story in which the character gains knowledge and experience, even as innocence is lost.

Speculative Fiction. Refers to genres not based in reality, including work with magical, supernatural or otherwise imagined elements. Essentially, speculative fiction is the opposite of mimetic fiction. The category includes subgenres like fantasy, science-fiction, dystopian fiction and more, Witcover noted.

Science Fiction. This genre often involves science and technology of the future. Science fiction is frequently set in space or a different universe or world. It often uses some real theories of science.

Fantasy. According to the California Department of Education (CDE), fantasy "invites suspension of reality." The genre encompasses stories that wouldn't happen in real life, often set in another world or including magical elements.

Dystopian fiction. Imagines a future place in cataclysmic decline.

Action and Adventure. The tension of the protagonist’s journey in an adventure story creates a pulse-pounding, adrenaline-pumping storyline. Dramatic car chases, secret missions, and violent fight scenes often pop up in famous action stories. Great action writing draws in your audience, getting their adrenaline pumping as they turn the page.

Nonfiction (Memoir: Stories from an author’s life that offer a firsthand account of events are called memoirs. According to Reader's Digest, some highly-recommended memoirs include “I Know Why The Caged Bird Sings” by Maya Angelou and “Spare” by Prince Harry. ; Autobiography: a nonfiction (true) account of someone’s life. It is written by the subject of the autobiography; Biography: tell the story of a notable person’s life, written by someone other than the subject. Some examples are “Into the Wild” by Jon Krakauer, which tells the story of the adventurer Chris McCandless, and “The Immortal Life of Henrietta Lacks” by Rebecca Skloot.)

Food and Travel. Cookbooks, food history books, travel guides and travel memoirs all fall under this category that includes “The Omnivore's Dilemma” by Michael Pollan and “My Life in France” by Julia Child.

Humor. Strong humor writers have a way of spotting the patterns of life and bringing them to the surface at exactly the right moment.

Young Adult. YA books are intended for readers between 12 and 18 years old, according to Smithsonian Magazine. Some examples include “The Hunger Games” by Suzanne Collins and “The Hate U Give” by Angie Thomas.

Children's Fiction. Many classic examples of children’s literature are picture books, including “Where the Wild Things Are” by Maurice Sendak or “Don’t Let the Pigeon Drive the Bus” by Mo Willems. Scholastic noted most picture books are intended for children up to seven years old.

Knowing your Genre. The world of literature abounds with different genres.

Although every literary genre has its own trends and defining characteristics, the divisions between these categories aren't always clear. Whether you’re picking another book off the shelf or plotting out your new novel, learning more about genre can help you decide what comes next.

If you want to become a writer, there are a number of reasons to learn about genres, according to Paul Witcover, associate dean of the online Master of Fine Arts (MFA) in Creative Writing program at Southern New Hampshire University (SNHU).

“I feel it’s important for writers to have an understanding of genre because it will impact how their books are marketed, as well as how they are perceived by publishers,” he said. “But I also think writers can be too concerned with genre.”

Although he encourages writers to learn about the subject, Witcover noted a tendency for overly rigid ideas about the distinctions between genres. “Concepts of genre are more fluid than writers may believe,” he said. It's important to keep that fluidity in mind.

Genre is determined by need and audience expectation. Its set functions are determined by its social need.

Broadly speaking, the fiction world is divided into 2 segments: literary fiction and genre fiction.

Literary fiction typically describes the kinds of books that are assigned in high school and college English classes, that are character driven and describe some aspect of the human condition. Pulitzer Prize and National Book Award winners tend to come from the literary fiction genre.

Genre fiction has a more mainstream, populist appeal. It traditionally comprises genres such as romance, mystery, thriller, horror, fantasy, and children’s books.

Some genre writers straddle a line between genre-focused commercial fiction and the traditions of literary fiction.

Traditionally, there are 4 broader categories of genre:

Fiction: Imagined or invented literature is called fiction, Writers & Artists noted. Examples of fiction titles include “1984” by George Orwell and “Little Fires Everywhere” by Celeste Ng.

Nonfiction: According to Writers & Artists, nonfiction refers to fact-based works. Some nonfiction titles include “The Body Keeps Score” by Bessel van der Kolk and “I Am Malala” by Malala Yousafzai, and “Essentials of Classic Italian Cooking” by Marcella Hazan.

Poetry: Britannica defines poetry as “literature that evokes a concentrated imaginative awareness of experience or a specific emotional response through language chosen and arranged for its meaning, sound and rhythm.” Poetry incorporates poetic elements and encompasses the work of writers like Maya Angelou, Robert Frost, Amanda Gorman and Richard Siken.

Drama: Dramatic literature refers to texts of plays that can be read for their literary value as well as performed, according to Britannica. Dramas include stage directions and specific formatting not found in prose or verse. Some of the most studied dramas are Shakespeare’s plays, like “Hamlet” and “Romeo and Juliet.” You might be familiar with other dramas, too, like “Death of a Salesman” and “The Crucible” by Arthur Miller or August Wilson’s Century Cycle of 10 dramas depicting the Black experience in the U.S. throughout the 20th century, including “The Piano Lesson” and “Fences.”

Although most writing falls into at least one of these 4 categories, the edges are a bit blurred, and there can be overlap.

Sources: 1 2 3 4 5 6 ⚜ More: Writing Notes & References

It seems the general advice is to learn about the different genres first, and try to see which elements your story has that align with them. Perhaps start with the broader categories first, then narrow it down to the major genres, until you identify which specific subgenre your story fits. And it's fine if they overlap, as this happens with most novels. Hope this helps!

[buckets-and-trees]

Since it’s still Monday… Happy Horny Monday!🥵

Imagine Bucky telling you to get on your knees🥵

Oh… and when I tell you there are so. few. men. I have ever wanted to have in my mouth…

But he would be one.

Especially Devour Bucky…

And it’s not Monday anymore, but who can complain about a little smutty something on hump day Wednesday?

Collection: Devour Title: MINT Characters/Pairings: Mob Boss!Bucky x f!Chef!Reader Word Count: 1.5k

Content Warnings: explicit smut, oral: male receiving, vaginal penetration/fucking, sex in a semi-public space, mob boss Bucky

Logistical Notes: Takes place after Heat but before Yeast. Written on my phone while waiting for my departing flight…

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You had dated before the incident (and you’ll always call it that because it was the height of his audacious pursuit) but that was different to how things were with James now.

Now you were his, and he was so assuredly assertive about it. He touched you easily - a hand on your back, on your arm, reaching for your hand. When you weren’t next to each other, his eyes sought you out - not constantly, but frequently. It was devoted with a hint of possessive that was healthy, not insecure. It bespoke a confidence and contentment that you had never experienced in any previous relationship, situationship, or entanglement.

It felt good.

At tonight’s benefit for the museum his warm hand had found its way to affectionately rest on your thigh under the table, but it wasn’t long before his hand had shifted, sidled under the high slit of your long silk dress, and his fingers drifted over to the tender and traitorous skin of your inner thigh above your stockings, dangerously close to your core.

But no further.

Only the quirk of his mouth told you he knew how he was teasing you, but he was essentially well behaved the rest of the night.

Somewhat maddeningly so.

He continued to be physically affectionate, but only in the most appropriate way.

And his eyes danced with the mischief of it.

So you concentrated on the rest of the evening - the other VIPs you were grouped and mingling with, the performances by some of the city’s symphony and opera stars, and the culinary delights.

You had been nervous for your first public appearance like this with James Buchanan Barnes, but it had been surprisingly nice. One of Bucky’s associates and his fiancé were at your table, as were the governor’s nephew and niece and each of their plus ones, and one of the members of the museum’s board of directors and her partner. James had whispered in your ear that the charming elderly woman from the museum board terrified all the old men on the board because she was so charming they were constantly surprised by her devious control of the board without ever having been the chair.

After dinner, there was dancing, but your table was one of a handful of tables swept away first for private tours of the new collections.

That’s where he struck.

Holding your hand, fingers interlocked, James had been falling further and further back in the group, engrossed in many of the works.

And it might have been genuine, but when he pulled you into one of the enclosed galleries and you saw one of his security step in front of the entrance, you knew you were in for discreet but delicious ruin.

“James…” your voice drawled in a cautious question.

He mimicked your tone, murmuring your name right back.

“Won’t they be trying to secure a sizable donation from you tonight at the end of this tour?”

“I’m already a generous patron of the city arts council. If they leave us alone long enough, I’ll increase my patronage before we leave,” he said with a cocky smirk.

One you had come to love.

“Been wanting to have you all night,” he said, voice going lower, right to your core, and taking a step closer to you.

“Oh?” You pretended to be unaffected, the way he had pretended to be only innocently touching you at dinner.

“And I would bet you’re ready for me,” he spoke directly into your ear.

Your eyes fluttered closed, but you tried to keep the rest of your cool. “Maybe. Maybe not.”

He chuckled then pressed you flush against his front, and you felt his hard cock press into you. “I’m ready for you.”

And within half a second, he’d rucked up the long skirt of your dress, exposing your ass in your lacey underwear and large fishnet stockings. You gasped his name into his chest, but he only proceeded, cupping your mound, undeterred.

And you couldn’t hide the heat of your wetness or your soft whimper as his fingers worked over your already ruined panties.

“Get on your knees for me,” he said, gently pushing down on your shoulder, and a little dazed, you complied. He brushed his thumb over your bottom lip then cradled your cheek - affectionate but with control in those fingers. “I want your pretty mouth.”

You unbuckled his belt and unzipped his pants, and pushed his boxer briefs down, exposing his thick, glorious, hard cock.

Then your gaze flickered to the side, toward the entrance to the dark gallery.

James brought his other hand up to frame your face, now holding your head in both his hands.

“Keep your eyes on me.”

You bit your lip but nodded. He smiled. Every moment had your body more abuzz - desire, the rush of being so exposed in public, this new relationship, how intoxicating he was.

“Now open up.”

You parted your lips, placed your hands on his thighs, and he eased his cock into your mouth. The tang of his precum hit your tastebuds, and the warm weight of him had you hum as you closed your lips around him.

“Mmmm, like that,” he cooed, slowly pushing his length to the back of your throat. He drew back a little, still holding your head in his hands, and pushed in again. Back and in again. Then he pressed his tip a little more insistently against your esophagus. “Relax and let me in, let me use your throat.”

You whimpered, but blinked once, still looking up into his deep blue eyes, and squeezed his thighs a little to let him know you were ready.

He didn’t rush, but he set an insistent pace, rocking in and out of your throat, groaning when he finally pushed all the way in, your nose nudging against the pubic hair at his base. You concentrated on breathing evenly through your nose, blinking through the tears that sprung from your eyes. His fingers were there to brush away those tears immediately, and the tenderness while he forcefully took your throat made you keen.

He rutted into you a few more times, and you could feel him absolutely throbbing, ready to let him spill into your mouth and down your throat, something you almost never let anyone else do before him, but then suddenly he pulled out, and hauled you up.

“Wha-“

He stopped your words with a consuming kiss, licking into your mouth, growling when he tasted himself there. He hauled your leg up around his hip, and you clung to his shoulders.

“My good girl deserves my cock in her dripping cunt, doesn’t she?”

“God, yes!”

He pushed the delicate lace of your panties aside, quickly lined up his thick, throbbing head inside of your slick heat, and drove up into you, claiming your lips immediately again once he was sheathed in you. You wrapped your arms around his neck, pulling closer, desperate to anchor in this moment of desperate passion.

As your leg gripped around him, his hand slid down to control your hip and leverage his thrusts.

You expected him to draw away from your lips, say more filthy things, but he didn’t for once, seemingly as needy as you to race to this finish. His other hand moved between your bodies and quickly sought your clit, already knowing each inch of your body better than his own. Quick circles over the bud at his fingertips escalated the tightening in your stomach, rough, punching thrusts, and then you were clenching and cried out against his lips, turning your head to pant into his neck as your orgasm washed over you in a rush. You trembled in his arms as he pumped furiously into you, and then he groaned as he shot his own release into you.

Quick, rough, claimed.

Satiated.

He laughed softly then kissed you again, more softly, still inside you for another moment.

Then he sunk down on one knee before you and brought your left leg up to perch on his knee. He drew a handkerchief out of the inner breast pocket of his dinner jacket, and then gently cleaned up your mixed spend from your core. He pressed a hot kiss to the exposed flesh of your thigh just above your fishnet stockings and righted your panties.

“You’ve so quickly become everything to me.”

Your heart stuttered, and you pulled him up for another kiss. He smoothed the long skirt of your dress back down, smoothed his hands up and down your waist, pulled you flush against his chest to run his hands up and down the expanse of your exposed back.

“All mine,” he murmured against your lips.

Then he reached into his pocket and pulled out a few after dinner mints he had apparently snatched from the table. You giggled and shook your head, but took all three eagerly, popping the first into your mouth.

He took your other hand in his, threading your fingers together, and drew it up to his mouth. “And I’m yours,” he added before pressing a kiss to the back of your hand.

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I do not do tag lists, but FOLLOW @buckets-and-stories and TURN ON NOTIFICATIONS to be updated any time I publish a new work!

[pixelsandpins]

Let's say you see the new Venom movie this weekend. Then you want to read the comics. Reading guides can be very overwhelming. So as a Venomaniac, let me give a broader approach discussing main storylines, what's worth your time, and where I think you should/could start.

80s-90s: Origin, First Villain Run, Transition to Hero

The Alien Suit Saga begins in Amazing Spider-Man #252 (1984) after Peter finds the goo in Secret Wars #8. Then more specific Eddie/Venom shenanigans start in 298-300. Venom's whole origin story can be found in a trade paperback (aka a TPB) called Spiderman: Birth of Venom which also includes issues from other series to fill out the story. Venom continues to be a villain in Spider-Man for awhile, so most of his story up through 1993 is found across Amazing Spider-Man and Web of Spider-Man. There're couple of collections that cover parts of this, but the most complete is Spider-Man Vs Venom. From this era you can also get the trade paperback called Carnage: Born in Blood which covers the arrival and birth of Carnage. A more in depth reading guide will give you these individual issues, and you can find them all in Marvel Unlimited or other online source.

(I'm having a hard time finding what I feel is the optimal link, but these have the information, at least).

Birth of Venom individual issues.

Birth of Carnage individual issues.

These are all very 80s and 90s comics, however, so they require a little bit of fortitude if you've never read comics before. This theme will continue up through Venom's solo work through the 90s.

Venom's solo stuff begins with Venom: Lethal Protector in 1993 (available as a TPB). This is the arc where Eddie moves from villain to hero. It also introduces the first symbiote spawn and a few other major lore elements.

Up through the rest of the decade there are A LOT of 3-4 issue mini-runs starting with Venom: Funeral Pyre. You can knock each of them out in an evening, and they provide some details about character and story. You absolutely don't have to read most. There are some key ones, though, where the lore carries through:

Venom: The Madness brings value not in lore, but in narrative. It shows the way Eddie and the other physiologically affect each other. It's also just really good.

Venom: Separation Anxiety separates Eddie and the symbiote, exploring the changes in their relationship and deals with more spawn. This one is a major influence on the first movie.

Carnage: Unleashed gives more development to Carnage and sets a story beat up for later.

Go back to Spider-Man for Planet of the Symbiotes. This expands on symbiote lore and is a key element of Eddie and the others relationship. You can read it as individual issues or as a TPB. This one has a major influence on Venom 1 and 3.

Venom: Sinner Takes All introduces She-Venom, traumatizes Anne, and sets some later lore hooks for story.

Venom: The Hunger expands on the brain eating/addiction and introduces the chocolate substitute. They also hold hands at the movies, and I think that's super important, personally.

Venom: Seed of Darkness is one of the lesser priority ones but does provide some interesting Eddie backstory.

Spider-Man: The Venom Agenda sets up some new story and lore beats for the Venom/Spider-Man relationship.

Venom: Finale the symbiote temporarily dies, and it sets up narrative for future comics.

If you've never read comics before, this whole era might be a difficult starting place. Mostly because the ethos of comics have changed, and it can be harder to connect with material from the 80s and 90s. It's not bad, it's just different. It's kind of essential narrative and lore establishment, however. So either accept the challenge or come back to it later and accept you'll have gaps in the lore. If you've read pre-2000s comics before, you'll be fine. Read from the beginning. It's a riot.

Venomnibus 1 and 2 covers this era. The first bout of Epic Collections also end here.

1999-2010

There's a bit of a tricky transition here over the change in millennia as Venom goes back to being a villain for a bit, joining the Sinister Six. Because of this most of the story moves back to Spider-Man. The problem is: there's major story shit introduced, and there isn't a collected edition that covers this era properly. You'll require a reading guide or accept the lore gap.

Peter Parker: Spider-Man #9-10 covers the return of the symbiote to Eddie.

Amazing Spider-Man #19 features the death of Anne Weying, Eddie's ex-wife and, at one time, temporary host.

In 2003 they start expanding the Venom story again, in earnest, but he's still an antagonist. The first solo run here is Venom Vol 1 by Daniel Way. This is collected into 4-5 trades, also appears in Venomnibus 3, and consists of 4 arcs. This one never got narratively resolved, but Wolverine is there. So that's something. This is probably the most skippable of the "big series" however you could use this as a starting place. It's early enough that you won't be missing the second phase of lore, and it's a more "modern" story. However, it's not the strongest of the runs, so it might set the wrong expectations.

Spectacular Spider-Man: The Hunger adds an element of maliciousness to Venom's motivations. It's moderately essential narrative but very divisive.

Venom/Carnage is pretty good, introduces Toxin, and transitions us into the next narrative beat.

The Symbiote and Eddie Part Company, Scorpion!Venom Begins

Here is where Venom becomes a proper villain again, only...he's a protagonist? A PROTAGONIST VILLAIN, YOU SAY?

Marvel Knights: Spider-Man #5-12 are often left off reading guides, but they transition the symbiote from Eddie to Angelo Fortunato to Mac Gargan.

Gargan, as Venom, then joins the Thunderbolts for a while. This is in Thunderbolts #110-127 and continues in Dark Avengers

Dark Reign: Sinister Spider-Man is the story of Mac Gargan fuckin' around as Venom/Dark Spider-Man.

I'm of the opinion you can pretty much skip the entire Gargan era, and you won't lose much going forward. But it's also...kind of a fun read? And it does expand on what the influence the symbiote has on their host looks like.

Venomnibus 3 also collects much of this, but not all. Marvel Knights, Thunderbolts, Dark Avengers, and Dark Reign are all available as TPS/Omnis

Also skip Venom: Dark Origin, for now. It sort of rewrites Eddie in a way that didn't really stick going forward.

Right at the end here, Carnage gets a few more series and Eddie as Anti-Venom is first introduced in Spider-Man. Anti-Venom barely shows up, at first, but he persists going forward. There's no dedicated collection to the era, but the primary comics are collected in Spider-Man: New Ways to Die, and Anti-Venom: New Ways to Live.

2010->today

Flash Thompson/Agent Venom Begins

Here, the government strips the other from Mac and gives it to military vet Flash Thompson

If you start here you're coming in right at the start of the next major phase of lore for Venom that covers all the Cool Space Shit. It's a fan favorite and an objectively well-written run, but it's also thematically and narratively a bit of a turn from all the others. It will also be a really really long time before you see Eddie as Venom. So just keep that in mind going forward.

After a bit of Spider-Man prologue, this kicks off properly in 2011 with Venom Vol 2 by Remender and Bunn. The Spider Island crossover as part of this run goes in tandem with Amazing Spider-Man. You can use a guide to sort these issues or get the TPB or Epic Collection that covers them.

Right in the middle of Venom Vol 2, Flash joins the Secret Avengers in issue #23. This is the sort of "official" intro of the Agent Venom iteration specifically. You'll also see this era tie in to the Minimum Carnage crossover. It's an okay read, but doesn't leave a lot of lasting impact on the story. You can skip it, for now.

Agent Venom also joins the Thunderbolts from issue #1-23 (Way and Soule). This is skippable.

Superior Spider-Man #22-25 is the pretty darn Superior Venom story and coves the gap between the end of the Agent Venom run and the beginning of the upcoming space-based stories. It's an an odd comic, though, in that very quickly changes the shape of Flash's relationship with the symbiote, but that relationship holds going forward.

Flash Goes to Space

His story continues in the Guardians of the Galaxy run from 2014, joining in issue #14. The most important part of his tenure with Guardians, however is issue #21-23. This is where we see the symbiote/Klyntar homeworld.

He rejoins the Guardians for 20 issues in the next run starting in 2015, but it's skippable.

These are both available as their own omnis or TPB collections.

Venom: Space Knight is sick as fuck and my favorite with Flash. A lot of good, juicy alien lore.

Eddie Becomes Venom, Again

Before Eddie goes back to his boyfriend, he spends some time as Toxin. The bulk of this is covered in the 2015 Carnage run by Conway.

Venom Vol 3 by Costa begins in 2016, and we see the transition from Flash to Lee Price briefly then finally back to Eddie. This is my personal favorite major run. It currently comes in 4 TPB. Starting here gives you street level Venom again but does drop you deep shit into the lore. You can one-hundred percent start here, though, extremely easily because they treat it as a soft reboot.

Within this run you'll see crossovers for Venom Inc. and Poison X. These expand on the overall story by introducing Mania and the Poisons, the latter of which are lead-ins for the first Venomverse comics. You can skip the Venomverse storylines, for now, but they are a lot of fun.

First Host is a really great mini-run in 2018 that talks about the true first host of the symbiote and introduces Sleeper. It's available as a TPB.

The Cates run (vol 4) (also has Bunn on it) begins in 2018, and it's very very good. It's where the character of Knull comes from, as featured in the new movie. A lot of people start here and have a good time. The way it's narratively constructed, it's beginner friendly, but you're sort of coming in at the end of Eddie's arc.

This also involves the Absolute Carnage and King in Black crossover events which are collected in a TPB/Omni.

This is also all collected in the recent Cates and Stegman Venomnibus.

The current Ewing run (vol 5) ends in November (cries), but you CANNOT START HERE. Without the previous Cates run, at minimum, the current run is missing vital story and lore information. You will be so lost, at first, that it simply won't be fun.

You'll note I've skipped a number of side runs including a few Carnage runs and Toxin. Slot them in if you want additional lore and story, but you can get by without them if it all becomes too much.

The lore drops that appear in Spider-Man in between solo runs might seize you up for a moment, but when necessary, the solo comics will catch you up as needed.

The past five years have also seen a handful of retro-runs that go back in time to tell stories from Eddie's early time with Venom. You could slot them in with the other 90s mini-runs, but I think they're more fun after you've been reading for awhile.

A new run is starting in December called All New Venom where Eddie will no longer be the host. Who will? We don't know! The way it's being advertised, I'm going to make a guess it ends up being a passable starting point for new readers. I'll know when I get my issue #1.

[thewriteadviceforwriters]

Master Dialogue Writing Techniques for Engaging Fiction (For Writers)

(Beware, long post!)

As fiction writers, we all know that effective dialogue is essential for bringing our stories and characters to life. After all, the way our protagonists, antagonists, and supporting players speak to one another is one of the primary ways readers get to know them on a deep, intimate level. Dialogue reveals personality, uncovers motivation, and propels the narrative forward in a way that felt narration simply can't match.

But nailing natural, compelling dialogue is easier said than done. It's a craft that takes serious skill to master, requiring writers to have a keen ear for authentic speech patterns, a nimble handle on subtext and implication, and the ability to strike that delicate balance between being true to real-world conversation while also keeping things snappy, dynamic, and laser-focused on the story at hand.

If you're someone who struggles with crafting dialogue that truly sings, never fear. In this in-depth guide, I'm going to dive deep into the techniques and best practices that will help you elevate your dialogue writing to new heights. By the end, you'll have a toolbox full of strategies to ensure that every exchange between your characters is as gripping, revealing, and unforgettable as possible.

The Fundamentals of Effective Dialogue

Before we get into the more advanced nuances of dialogue writing, let's start by covering some of the foundational principles that all great fictional conversations are built upon:

Reveal Character One of the primary functions of dialogue is to give readers a window into who your characters are as people. The way they speak — their word choices, their tone, their body language, their turns of phrase — should provide vivid insight into their personalities, backgrounds, values, quirks, and emotional states.

Think about how much you can glean about someone just from how they communicate in real life. Do they use a lot of slang and shorthand? Are they verbose and flowery with their language? Do they struggle to make eye contact or fail to respond directly to questions? All of these subtle linguistic cues are powerful tools for crafting multi-dimensional characters.

Drive the Plot Forward While revelations about character are crucial, you also want to ensure that your dialogue is constantly pushing the story itself forward. Each exchange should feel purposeful, moving the narrative along by introducing new information, triggering plot points, creating conflict, or prompting characters to make pivotal decisions.

Dialogue that feels aimless or extraneous will ultimately bore readers and detract from the forward momentum of your story. Every line should have a clear intent or function, whether it's uncovering a hidden truth, setting up a future complication, or escalating the tension in a high-stakes moment.

Establish Distinct Voices In a story featuring multiple characters, it's crucial that each person has a clearly defined and differentiated way of speaking. Readers should be able to tell who's talking just from the rhythm, diction, and personality of the dialogue, without any additional context clues.

This doesn't mean every character has to have an over-the-top, hyper-stylized way of communicating. In fact, the most effective character voices often feel grounded and natural. But there should still be distinct markers — whether it's word choice, sentence structure, tone, or speech patterns — that make each person's voice instantly recognizable.

Convey Subtext While the literal words being spoken are important, great dialogue also traffics heavily in subtext — the unspoken emotional undercurrents, power dynamics, and hidden agendas that simmer beneath the surface of a conversation.

The most compelling exchanges happen when characters are communicating on multiple levels simultaneously. Perhaps they're saying one thing out loud while their body language and tone convey a completely different sentiment. Or maybe they're engaged in a subtle war of wits, trading verbal jabs that reveal deeper wells of resentment, attraction, or vulnerability.

Mastering the art of subtext is key to creating dialogue that feels layered, lifelike, and imbued with dramatic tension.

Strategies for Writing Snappy, Realistic Dialogue

Now that we've covered the foundational principles, let's dive into some specific techniques and best practices that will take your dialogue writing to the next level:

Omit Unnecessary Details One of the biggest mistakes many writers make with dialogue is bogging it down with too much extraneous information. In real life, people rarely speak in perfectly composed, grammatically correct full sentences. We stumble over our words, interrupt each other, trail off mid-thought, and pack our speech with filler words like "um," "uh," and "you know."

While you don't want to go overboard with mimicking that messiness, you should aim to strip your dialogue of any overly formal or expository language. Stick to the essentials — the core thoughts, feelings, and information being exchanged — and let the subtext and character voices do the heavy lifting. Your readers will fill in the gaps and appreciate the authenticity.

Master the Art of Subtext As mentioned earlier, crafting dialogue that's rich in subtext is one of the keys to making it feel gripping and lifelike. Think about how much is often left unsaid in real-world conversations, with people dancing around sensitive topics, conveying hidden agendas, or engaging in subtle power struggles.

To layer that sense of unspoken tension into your own dialogue, consider techniques like:

• Having characters contradict themselves or say one thing while their body language says another

• Utilizing loaded pauses, interruptions, and moments of uncomfortable silence

• Injecting subtle sarcasm, skepticism, or implication into a character's word choices

• Allowing characters to talk past each other, missing the unspoken point of what the other person is really saying

The more you can imbue your dialogue with that layered, emotionally-charged subtext, the more it will resonate with readers on a deeper level.

Establish Distinct Voices As mentioned earlier, ensuring that each of your characters has a clearly defined and differentiated speaking voice is crucial for great dialogue. But how exactly do you go about accomplishing that?

One effective strategy is to give each person a unique set of verbal tics, idioms, or speech patterns. Maybe one character is prone to long-winded, flowery metaphors, while another speaks in clipped, efficiency-minded sentences. Perhaps your protagonist has a habit of ending statements with questioning upticks, while the sarcastic best friend always punctuates their barbs with an eye roll.

You can also play with differences in diction, syntax, and even accent/dialect to further distinguish how your characters communicate. The key is to really get to know the unique personality, background, and psychology of each person — then let those elements shine through in how they express themselves.

Lean Into Conflict and Confrontation When it comes to crafting gripping dialogue, conflict is your friend. The most compelling exchanges often arise from characters butting heads, engaging in verbal sparring matches, or working through deep-seated tensions and disagreements.

Conflict allows you to showcase the high stakes, unresolved needs, and deeper emotional currents that are driving your characters. It forces them to make bold choices, reveals aspects of their personalities that might not otherwise surface, and generates the kind of dramatic tension that will really hook your readers.

Of course, you'll want to avoid making every single dialogue scene a full-blown argument. But learning to sprinkle in well-placed moments of friction, confrontation, and clashing agendas is a surefire way to elevate the energy and impact of your character interactions.

Read Your Dialogue Out Loud One of the most valuable tricks for ensuring your dialogue sounds natural and lifelike is to read it aloud as you're writing. Hearing the words out loud will quickly expose any clunky phrasing, overly formal grammar, or inauthentic rhythms that would otherwise go unnoticed on the page.

Pay close attention to how the dialogue rolls off your tongue. Does it have a smooth, conversational flow? Or does it feel stilted and unnatural? Are your characters' unique voices shining through clearly? Are there any spots where the back-and-forth starts to drag or feel repetitive?

Actively listening to your dialogue — and making adjustments based on how it sounds in the real world — is an essential part of the writing process. It's one of the best ways to refine and polish those character interactions until they feel truly alive.

Hopefully, this can help you all!

The key is to always keep your focus on authenticity. Ask yourself: how would real people actually speak?

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