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[weirdlookindog]

The Invisible Man (1933)

[volatilemask]

ULTRACATS // VIOLENCE (the rest of them, anyways) ALL CATS

[fordford]

here's a comic i drew in september of 2023 but never posted. it's very messy but i hope you like it.

[luciuscodedswedeboy]

this y’all’s hard dom??

[nexttimeisnotthesame]

I KNOW I'M AN ICON WATCH ME WITH THE LIGHTS ON — GOT7 (PYTHON)

[mrghostrat]

some tips for writing flow

i've had a lot of comments complimenting my writing style, most of which don't know how to explain or describe what they like about it. i never really knew either, but i've been paying more attention to the way i write things lately, in the hope of being able to understand and explain it.

a lot of this is "based on feel" with no hard and fast rules, but there's also very tangible techniques you can hopefully work into your own writing, if that makes sense? idk is this anything—

1 - sentence beats, and alternating them.

this is probably the biggest thing in my writing. i've realised my sentences can be measured in beats, based on their length and how many sections they can be broken into. the pattern changes often, and i don't have a concrete rule in how i fill a paragraph (again, i've only just put words to any of this), but it's probably the most important part of my flow. let's have a look:

1 beat: • this is probably the biggest thing in my writing.

2 beats: • i've realised my sentences can be measured in beats • based on their length and how many sections they can be broken into.

3 beats: • the pattern changes often • and i don't have a concrete rule in how i fill a paragraph • but it's probably the most important part of my flow.

it looks like a favour certain patterns, the only real "rule" i use is to construct a paragraph with various beats, and never put two side by side. whenever i'm struggling with my flow, it's usually because i've put two of the same beats next to each other and everything feels either stiff or crowded. i rarely put two side by side, unless it's for specific emphasis.

the other exception are paragraph breaks: these are a pause for breath, and allow us to reset the pattern. i often start and end my paragraphs with single beat sentences, and it doesn't feel like they're running on because there's that lovely breath between them.

2 - short paragraphs

the rule we learn in school is that new paragraphs are for new ideas. convert this to prose, and we can consider "ideas" to include the character's thoughts, new narrative tangents, and physical movement around a scene.

one of my biggest struggles reading "bad" fanfic is when paragraphs are too lumped together. crowley will walk into the bookshop, see aziraphale across the way, wander over to a shelf, select a book, then pour himself a drink all in one big chunk. i can't parse that. there doesn't have to be a new line break for every new action, but grouping the relevant ones together and breaking in between broad motions (i.e. walking across a room, acknowledging a character) can help ease readers through the scene.

paragraphs are a breath, not only for sentence flow, but for processing the action within a story. similarly, purposefully keeping multiple actions confined to a single paragraph can make them feel quicker, while breaking them up into multiple paragraphs will slow down the pacing (even if the amount of detail describing each action is the same). included some examples because i'm struggling to explain this one

3 - mixing metaphors

this might sound less flow related, but i used to struggle with it a lot as a young writer, and paying more attention to it has definitely helped clean up my flow and writing overall.

i love a good analogy, but it can be easy to get carried away, and this can bog down the prose. my personal rule is that i can get silly with my metaphors (see: the mon chéri magnet), but i can only use one at a time. no talking about the magnet in aziraphale's chest and the angel and demon on his shoulder within the same scene.

if i'm getting silly and long winded with a metaphor, i also try to limit the length of it to one or two paragraphs. paragraph 1: set up the metaphor, establish the analogy. paragraph 2: come back to the reality of the scene, then mention the metaphor once more to link it all together. if i'm feeling cheeky, then i mention the metaphor again ONCE in passing, a couple of paragraphs or even chapters later

the magnet was a fun one, because i kind of flipped how i would usually present a metaphor, with the long winded tangent coming last instead of being the set up. and even though i used the metaphor 3 times, it felt like 2 because the set up was really just a planted seed for what i'd be mentioning later in the theatre. referencing the "whispered curse in the dark" also helped tie the scenes together and keep the analogies neat and tidy in our heads

meanwhile i got a little more carried away with the space metaphor in postcards (i feel like there's probably a 4th and maybe even 5th mention during the bookshop scene), but each one was blink-and-you'll-miss-it brief that didn't slog down the prose.

4 - avoiding repetitive pronouns

we're all going to struggle with this, and i don't have a secret hack for avoiding a wall of "he this, he that, he then," and i honestly try not to beat myself up over it too much. but there are two things i check to make sure it's not getting too repetitive:

1. looking within a paragraph

apparently everything revolves around paragraphs and the breath between them lmao. i don't have a strict rule like "use the character's name once per paragraph, then 'he' for the rest" or anything like that, but it's in that kind of vein. i simply pay attention to one paragraph at a time to watch for too much repetition, and if i notice it's been one or two whole blocks without switching from 'he' to a name, i'll chuck one in to break it up.

2. paragraph starters

this is so picky. and i don't know if it does ANYTHING, but it bugs me when i'm writing and i notice every paragraph starts the same way. maybe it has no effect on the flow at all. but i like to make sure my paragraphs aren't starting with the same "he" "he" "he", and that forces me to go back and switch around the pronouns in recent sentences, so the next paragraph can flow on more smoothly.

5 - use interruptions appropriately

edit: sneaking this one in here as a final thought! i just want to mention the use of em-dashes, semicolons, footnotes, and parenthesis mid-sentence. it's common to favour one in particular, but each have spectacular uses and can add miles to the pacing and flow of your prose.

em-dash (—) interruptions, cutting off dialogue— pausing to make a point — like this — in the middle of a sentence.

semicolon (;) helps with making lists and continuing a compound sentence that doesn't really link with 'and' or 'but'; when you want to pause, but a new sentence would break the flow of things.

footnotes (¹) these should be optional additions to the text imo. you should be able to keep reading without looking at the footnotes and not lose an ounce of story. they're additive, not necessary.

parenthesis ( () ) a great way to interrupt yourself (less sharply) than with em-dashes, include longer pieces of information (like what you might put in a footnote, except more crucial to the narrative that you don't want people to miss!) and adding sass (lol) and tone to your prose.

[mollysunder]

I see Arcane's marketing is thrusting a lot of blue on Jinx's persona, which is fine, but also a misdirection! I argue that the use of blue on Jinx represents THE IDEA that others have of Jinx rather than representing who Jinx really is. Jinx's true color, the one she paints over those closest to her, the one that represents her is PINK. Jinx is pink!

When we see Jinx in pieces either in or out of show where blue is the predominant color in the palette it's signaling to us the audience that this the Jinx that is perceived by the world around her, which includes Piltover AND Zaun. In this essay I will---

[treefory]

[evil laughter while stirring pot]

[front-facing-pokemon]

[piromina]

greetings! today I present:

ALL THE INFO WE HAVE, SO FAR, OF THE BEASTS' CORRUPTION ORDER

mystic flour cookie was NOT the first to corrupt. she was the third, the fourth, or the fifth.

This is backed up in her bio, specifically by this sentence: "...leading her to join forces with the fallen Beast Cookies."

This means that she was not the first to corrupt: there were others to join once she did eventually fall. And she wasn't the second; Beast Cookies is plural. This opens up the possibility of her being either third, fourth, or fifth.

and! mystic flour's reason for her corruption was simply the crowds fading away. she was no longer regarded as a saint.

this, I feel, is important because ... well, it's a strange reason to fall. it brings up questions: why did the crowds fade? could there be a reason for it, more specifically, their civilisations falling? their people perishing in war?

things that sound like what would be the cause of burning spice and silent salt's corruptions?

since we don't know that much about silent salt, burning spice is next on the list. here's his bio:

notice anything interesting?

if the image won't load for you, here's the gist of it:

POSSIBILITY: Burning Spice Cookie fell early, possibly being the first Virtue to fall.

Take this sentence from the bio, for example: "Burning Spice Cookie shaped the course of history, when history itself was young."

And now this one: "But as time marched on and kingdoms rose and fell in an endless cycle, he grew weary — bored by the monotony of it all."

Burning Spice corrupted because of time. He got bored. It was tiring, infuriating, an endless cycle of "born, grow, wither." He's the wielder of Change, he says, but nothing is changing.

And really, it would be quite early on in history — maybe decades, maybe centuries — when one would begin to get bored. War after war after war. Why should he help the Cookies ("...He was hailed as a hero, a leader who fought battle after battle...") when they all will crumble in the end, anyway? what's the point?

So, he corrupted. Started wars. Started killing. It was interesting, and it was fun, and it likely happened early on. Burning Spice wanted something to change, he says, and he could be the one that started the chain reaction of the Beast Cookies falling, the one who made the biggest change anyone would have anticipated.

there's not much else we know about the other Beast Cookies as of now. but we do know this:

If burning spice did corrupt first — and silent salt was second, and mystic flour, say, fourth. that all checks out with the order the beasts were shown corrupting in a certain trailer...

[maki-nsi]

At the end of the day, she is just a girl

[weirdlookindog]

Dracula's Daughter (1936)

[mw4n]

Should ¥XX,000,000 Make Fushiguro's Shit Worth It? - taster

༄ synopsis - Being Toji Fushiguro's in-house private solicitor may pay well, but recently you're reconsidering if the pay makes all the stress (read: Toji himself) worth it. At this point, with all the less-than-legal actions Toji commits on the regular, you're practically a certified mob lawyer. 

"Mr. Fushiguro, it's-" you squint at the clock on your nightstand. "-4 in the morning."  "Get here now." The deep growl in his voice makes you scramble out of bed - and something pool in your stomach. "Right away, sir," You chirp. Much more obediently.   "Good girl." He purrs back.  ?!?!? The disconnect tone on your phone plays for a full minute as you sit frozen.

༄ series tags - toji fushiguro x reader; lawyer! reader; no curses; yakuza/organised crime; violence; explicit content; dilf! toji; tags to be added

<< N/A || ch. 1 OUT NOW >>

( う-´)づ︻╦̵̵̿╤── \(˚☐˚”)/

“You know, you really shouldn’t smoke.”

High-heeled shoes clicked against the floor of the rundown bar, a sagging tote filled to the brim with court documents unceremoniously plopping onto the barstool next to Toji Fushiguro’s lone frame. The bartender didn’t even greet you, knowing you weren’t here to drink but just to fetch Toji. 

A hand intercepted the fresh cigarette in Toji’s hand. So fresh, he hadn’t even had the chance to set down the lighter. 

He turned to you, raising a brow. The incredulous look on his face increased by two more points at the sight of the cigarette now in between your lips. You inhaled the nicotine, tugging the cigarette from your parted lips to blow the haze out with a tilted head. The tenseness in your face relaxed as the sensation of the drug entered your system. 

You rarely, if ever, smoked, but the recent events really did call for it. 

“You’re smoking my cigarette.” You had been working with Fushiguro long enough to know when he was actually annoyed, and this was nowhere close.

You rolled your eyes, snuffing the cigarette out on the ashtray next to Toji. “With all the stress you give me, I need it more than you.” A pause. Maybe that wasn’t the right thing to say. “And you shouldn’t smoke anyway, you’re the one with the kid.”

“I could put a kid in you, easy enough.” Toji smirked.

Externally, you looked as unperturbed as ever, ignoring his quip to rifle for his document in your tote. That was what you were here for, afterall. Externally, you were the image of a perfectly professional lawyer. 

Internally, you had just creamed your underwear. 

[ FULL out now ]

[the-meme-monarch]

opinion on the new hlvrai teaser thing that came out today

i’m feeling something ! it’s positive !

[nexttimeisnotthesame]

⋆⁺₊❅. ⋆⁺₊❅.

[blue-lollipops-and-ice-clouds]

IIsday's Hypnosis Drumeo Offering's Chapters!