#used an actual already written scene for this one

[uyallstars]

Tumblr indexes the first 30 tags in the general tumblr search and the first 20 tags in the in-blog search. Remember to add your edit tag in the first 20 tags or they wont show up in your blog.

For anime I’d add the -graphics suffix (opgraphics for One Piece) and consider the acronym instead of the full name (dbedit for Dragon Ball), the manga/japanese name (ensedit for En'en no shōbōtai for Fire Force) or the colloquial name before -edit (kodochaedit for Kodomo no omocha).

Because this is the far west you will have a combination of all or some of the above because you don’t know which tags people may actually check out. If they do at all.

You can always search for more than one tag.

so i've noticed a trend recently with maybe new gifmakers or tumblr users where they only tag gifsets with the name of the media and not [media]edit and i just want to remind everyone that the [media]edit tag system emerged because it is impossible to properly filter tumblr searches and having an unfiltered mess of text posts, gifsets, fanfic, spam etc all in the general media tags makes it REALLY hard to find gifsets to reblog which is WHY the [media]edit tagging system was implemented in the first place, like that was a grassroots tumblr creator movement and it was the best thing we ever did as a collective and we need to keep doing it please i am begging y'all i cannot go back to scouring the general tags for gifsets like it's 2011 please please please keep using [media]edit for your gifsets

[meglosthegreat]

I see a lot of posts on here talking about the Solas/Elgar'nan segment in Blood of Arlathan and how it's one of the best scenes in the game, and they'd be right, but I don't see enough people talking about how comically the whole thing is undercut by quite possibly the most poorly-conceived, terribly-implemented looney-tunes-ass sequence in gaming history that surrounds it.

Like you show up with your friends to this Venatori party, and you're like great, we're sneaking in! Time for disguises. How convenient that these Venatori guys all wear hoods, right? Should be a piece of cake if we're all, you know, wearing hoods that would helpfully hide our identities. But no. We all go waltzing in with our whole-ass faces exposed, you know, the group of guys that have been murdering Venatori left and right and who Elgar'nan and Ghilan'nain have definitely all seen in person before. Oh, and don't worry about walking into this notoriously racist elf-sacrificing cult if you happen to be an elf! You're only here in disguise so that you can rescue a GROUP OF ELVES THEY'RE GOING TO SACRIFICE but it's ok because you're dressed as a mercenary and not a dalish so it's all good don't worry about it :) :)

Then you get into this fucking party and oh my fucking god it's like they decided to take all of the most comically over-the-top stereotypes of villainy and put them on display. Because why not! The Venatori are all sickos anyway so of course they'd be out here doing sicko things! There's some guys pulling a halla apart with blood magic! There's other guys using slaves as benches! They're all laughing and joking about how EVIL they are, hahaha, how cool is that? The fucking guy from D'Meta's Crossing is here if you don't let him die, because he's a fucked up evil sicko too! You're supposed to be shocked at this hideous display; recoil in horror, even!

And who do you bring with you to help get through this crowd of absolute lunatics? NEVE FUCKING GALLUS. You know, the person so well-known in Minrathous that a Dalish elf living in Arlathan KNEW HER BY REPUTATION. Yup, Neve Gallus with her INTENSELY RECOGNIZABLE PROSTHETIC just waltzes up to some guy and he just lets her in. Because being EVIL also makes you incapable of coherent thought, apparently.

And then. AND THEN. You walk across the bridge where Elgar'nan makes his thought-sounds at you, and YOUR ENTIRE FUCKING PARTY is already there, just hanging out nbd. Also not wearing hoods or any kind of disguises that couldn't instantly be seen through by a five-year-old with amnesia but ok, cool. Why did we bother walking through all those sickos then when we could've just taken the secret back entrance like the rest of them, idk.

But just when you think you've reached peak stupidity, it keeps going. You're now standing there, at the front of a crowd of about twelve people, approximately five feet away from Elgar'nan himself, inexplicably blending in, when the big guy puts the mind control whammy on everyone. Oh no, you think. We've been found out! Here's the part in the plan where things begin to go wrong! NO. Your mage friends SECRETLY PERFORM MAGICAL GESTURES to block the mind control, and then you LITERALLY FUCKING SIDLE OFF STAGE LEFT without ANYONE NOTICING. I should reiterate that at this point, you are still about FIVE FEET AWAY FROM ELGAR'NAN and his fucking ARCHDEMON.

And to conclude this absolute comedy of idiocy, as soon as you enter back into combat mode, you immediately ditch all of your disguises. And of course then, ONLY THEN, Elgar'nan notices you've been there. Cut to the end of the actual good sequence, this dramatic conversation performed by excellent voice actors and written miles better than most other things in this game, and you reach your final prize: about six guys trapped in a little cube. Cool, you tell yourself. This was definitely worth it. You take your fade-to-black teleporter back to the Lighthouse and they're never heard from again.

This was the quest that broke me. This was the moment that all hope for Veilguard finally snapped. I consider myself to be a very resilient person in the face of camp and goofy writing, but this was too much disbelief for my brain to suspend. The mental gymnastics necessary to make this whole sequence make any kind of sense were simply beyond me. Even Solas's dulcet tones could not salvage it for me after that.

[keepmycandleburning]

The juxtaposition of Voldemort asking these two questions just a few pages apart raises so many interesting thoughts for me.

When he's asking if Harry is dead, who is he talking to - directly to Bellatrix (who he'd just been talking to in the previous sentence)? to the whole group? If he's talking to Bellatrix, she doesn't answer, and he then decides he doesn't want her to.

The choice to have Bellatrix be the one to answer who Neville is... (when clearly Neville is more than willing to talk to Voldemort, and anyone who was at the DoM likely knew the answer, or the DEs who taught at Hogwarts, or Hagrid, or McGonagall or any other of the Hogwarts fighters... Voldemort could have just said his name without asking... Harry could've just seen him without this sort of exchange happening at all... This could've been written in so many different ways, but JKR chose Bellatrix). When Voldemort asks a question to a group, is Bellatrix typically the one to answer? Does he expect that? Was he actually asking her personally? Is it natural for him to turn to Bellatrix for answers?

I notice in every scene in which they interact how attentive to him she is. Continuing to talk to him after he tells her to stop in the Ministry, screaming his name when he vanishes, addressing a question that wasn't to her in The Dark Lord Ascending, seating herself (or being placed by him) closest to Voldemort in the forest, being the only one who tries to speak to him in the forest, being the only one to show him care and try to help him after he falls, and even after he tells her to stop... It's out of character for her to not have been the one to answer whether Harry was dead. She doesn't even speak. It seems like one big function of the choice to have Bellatrix be the one to immediately answer the Neville question is to reinforce how out of character it was for her to not answer the question only a few pages earlier. Why? Is she so concerned with helping Voldemort she can't even think about what's happening around her? Does he not want her to step away despite what he's trying to claim? Does Voldemort not want Bellatrix to approach Harry because he's suspicious Harry is dangerous? Is Bellatrix herself hesitant to approach Harry - and if so note that Voldemort immediately picks someone else.

What were Bellatrix and Voldemort actually doing when Harry imagines her withdrawing a helpful hand? Based on the several paragraphs before, she was kneeling directly beside him and was touching him to try to help him up - is him telling her he doesn't need help really enough for her to stop trying? Why would 'I do not require assistance' work when 'That will do' did not?

Is this scene really as drawn out as Harry's internal narration makes it seem? Voldemort doesn't reply the first time Bellatrix speaks to him here - had she already been doing it, but Harry didn't hear because both he and Voldemort were still unconscious? What was Bellatrix doing when Voldemort was unconscious? Probably about what she was doing when he woke up? Was she touching him in front of everyone to check whether he was still alive? Did he wake up with her hands on him?

What relationship must she have with Voldemort so that when he wakes up with her beside him touching him, she knows she doesn't have to move away or stop touching him even when he tells her to, AND she speaks to him in such a manner that makes Harry think she's talking as though Voldemort is her lover? Her LOVER.

The hints leading up to this line build up in clarity throughout the series, with earlier instances like the use of 'Bella' which we gradually confirm is a nickname used only be her family (Narcissa, Lucius, the Black house elf Kreacher), to the even more direct language used in tDLA like 'no higher pleasure,' to the utterly unambiguous use of 'lover' near the end of the final book. This scene is also placed in the middle of Voldemort experiencing a series of great losses - the cup, the knowledge that Harry was after the Horcruxes, the ring, the locket, Nagini, and ultimately Bellatrix - and in fact these last two are as closely juxtaposed as the scenes from above, just a few pages apart and so comparable but so different. Nagini's death functions as a final reminder of how Voldemort reacts to a huge personal loss:

But to the loss of Bellatrix:

His last Horcrux, his last Death Eater standing - both a scream, both fury, but only one reaction strong enough for his magic to involuntarily explode around him forcefully enough to blast multiple people off their feet?

(People he was not capable of doing this to consciously, or he would have already. This is not a normal fury reaction for Voldemort, or he would have experienced it at other times; this is not something he is consciously capable of, or he would do it at other times - most relevantly, he would have done it in the final confrontation with Harry to save his own life. He could not.)

What relationship must he have had with her to react to the loss of her worse than to the loss of his SOUL? We see him react to the losses of several pieces of his literal soul, and not one of them gets a comparable reaction to the loss of Bellatrix - not the one that happens first unexpectedly, not the one that happens directly before his eyes. His 'last, best lieutenant' who only a handful of pages earlier was speaking to him 'as if to a lover'? No matter how the text is dissected it always leads to the same answer.

[whorejolras]

i'm saying it. i don't think joly would work in a hospital. i think his medical career would be informed by his politics + radicalisation and his + his friends regular drug use, he would be outraged at how the medical industry handles drug users, also at the medical industrial complex in general, so he would find a reputable community led harm reduction organisation to work for 🫶🏻

[firestorm09890]

FUCK what I said about the majority of significant changes to dialogue in Re:CoM being to adjust Axel's characterization, the most egregious change is actually this

(GBA CoM)

(Re:CoM)

if I had to guess, the reason for this change was because in GBA CoM, The Superior was a spooky, unknown being at the head of this Organization we had very little knowledge on, and for Vexen, the guy who runs his mouth constantly about how much better he is than the others, to be terrified of him, he must be some pretty scary dude. But then after kh2 we know him, it's Xemnas, he's very dramatic, he likes to talk to the moon, and the effect of your mind filling in the gaps about what "The Superior" must be like is gone. So it wasn't really necessary anymore, right?

(rest under cut because it's long)

Except... the way they changed it is so weird. In the GBA version, what's happening is pretty clear:

Marluxia tells Vexen that his project is a failure

Vexen demonstrates that he does not give a shit about Marluxia's opinion

he does care very much about The Superior's opinion, though, and Marluxia uses this to blackmail him into eliminating Sora- an action which is nonsensical, as the entire point of what they're doing needs Sora alive, making it clear to everyone in the room that he is deliberately sending Vexen to die

and then after that, when Vexen shows up to fight Sora, he goes "if you want to fight me for real you've gotta do it in the memories from the other side of your heart lol bye" and Sora goes "huh? other side?" and then it cuts to a scene on the top floor:

and then this gets more into subtext but here, Vexen has realized he's totally fucked and his only hope is to mess directly with Marluxia's plans (well, they were the Organization's plans, but it's pretty obvious by now Marluxia's abusing his power for his own purposes) by giving Sora more information than he should know. This does get the traitor gang worried enough to send Axel to go kill him (as opposed to just letting Sora take care of him, which was presumably the original plan)- he very specifically cuts Vexen off to keep him from saying too much (this is retained between the original and the remake)

Anyway, what happens in Re:CoM sort of follows the same order of events, but everything is changed slightly in a way that just makes things more confusing.

Marluxia tells Vexen his project is a failure and Vexen demonstrates that he doesn't give a shit about Marluxia's opinion, as before

Marluxia threatens Vexen with a weapon, rather than threatening to tell the Superior

this, notably, does not seem to faze Vexen very much. he continues to run his mouth while having the scythe pointed at him.

Xemnas is still leveraged- Marluxia points out it was the Superior who entrusted him with the castle

...even though reasonably Vexen would already be aware of this, and has still demonstrated that he has zero respect for Marluxia despite it

the lines about betraying the Organization being a capital crime are retained, probably because it's super relevant later, but then that line of thinking is abandoned in favor of Marluxia and Larxene just taunting Vexen instead

The part where Marluxia says "do it. you won't" could be seen as a sort of threat... if not for Axel's line: "You give a challenge like that to Vexen and he'll seriously want to eliminate Sora." It frames it all as though Vexen went to fight Sora out of some sort of pride.

And look, Vexen may have a temper and a superiority complex, but he's not stupid. They're obviously baiting him. Plus, what happened to him seeing himself as above the others and countering things he doesn't like with "well actually I'm higher ranked than you and also you're an idiot"? Is he that insecure in his fighting capabilities? I could deal with characterization changes doing him dirty if it didn't also make no sense in the context of the plot.

So now we have Vexen going to try to kill Sora, something that really makes no sense to do, out of pride. What was the purpose of sending Sora to Twilight Town? Also pride, over the fact that he managed to get that information? Giving the writing the benefit of the doubt, I could say that these nonsensical actions can be explained as evidence that Nobodies can have hearts and people with hearts do strange and rash things, but that just feels like a reach, which is bad because what they had in GBA CoM worked perfectly fine and made sense without any reaching for the "idk emotions make you do strange things" explanation.

It continues. After Vexen gives Sora the Twilight Town card in Re:CoM and Sora wonders about what the "other side" means, this is that version of the conversation the top floor members have:

...what? "If Sora disappears, that would mess up the Organization's plans"? what are you worried about? the only reason Sora would disappear is if Vexen killed him. there's no way they think Vexen being in Twilight Town would give him an advantage, right? they know he's a pathetic fighter. "Vexen has clearly committed a treasonous act against the Organization" HOW? HOW IS IT CLEAR? they don't express any worry about Sora learning too much, up until Axel says "I came to stop you from talking too much" when killing Vexen- and that being there makes it seem like they were worried about Sora learning to much, but if that's the case, why would they replace the perfectly serviceable lines in the above scene? it's just... baffling that they would want to lean into the narrative that Vexen going to kill Sora (which he'd been goaded into doing) is the problem here, because it just makes so little sense compared to what it was originally.

once again giving them the benefit of the doubt: Marluxia's real plan was to take over the Organization, and he saw an easy way to pick off one of the members, so he took it. the motive for stopping Vexen doesn't actually matter.

buuuuut it's the same as with Vexen earlier. Marluxia may be too self-absorbed and power-hungry to notice Axel is scheming against him, but he, too, is an intelligent man. he's plotted for a while, getting into Xemnas's good graces in order to be put in charge of the Castle. this is incredibly sloppy for him. I guess it could be said that getting so close to his goal would make him sloppy, but again, if they'd just left things the way they were in GBA CoM, I wouldn't even have to be saying this

in conclusion: GBA Chain of Memories' intra-Organization strife subplot is so tightly woven with calculated moves on all sides that Re:CoM changing certain things without taking into consideration the consequences makes certain parts of the plot fall flat and become far more confusing than in the original story

[codecicle]

codecicle you put things on my screen that are so confusing and have no relevance to my interests but its you so i find it so very endearing. keep having so much fun and whimsy on tumblr dot com child :3

you have GOT to get on this horrible TV show dude you don't even understand. it's bad and has 0 redeemable qualities, literally my bread and butter rn. can't get enough of it

[sysig]

One better (Patreon)

[sisterdivinium]

(One thing I find peculiar and unfortunate in current fandom business is the seeming lack of pointed discussion, so here is a humble attempt to spark a conversation and I more than welcome commentary.)

I came across someone in the notes to a post somewhere talking of how Jillian had been better styled in season two than in season one and I agreed, already seeking the justification for it in my mind. My observations are as follows:

S1 Jillian is Arq-Tech's mastermind and public face. Even though we first meet her in Morocco, in her explorer, Indiana Jones-like garb, it's the image of her running her company that sticks with us, her statements to the press, her corporate persona opening metaphorical fire upon the Church. A "powerful woman" as mainstream media constructs for us everyday, in subtle but visible makeup so as to diminish the effects of age on her face, in heels so as to peek at the rest of humanity from above, with controlled gestures meant for the inherent theatricality that comes with introducing life-changing technology to society. It is a role she plays—well, but a role nonetheless.

The scene she shares with father Vincent is worthy of mention, for while he sits without taking up much space, his body restrained to the side of a couch, his legs crossed in what is deemed a more "feminine" posture, Jillian takes up the traditional "masculine" attitude: she commands the room, her body expanding upon her seat, in the broad pose where an ankle rests upon a knee, complete with a generous glass of alcohol in hand and talon on foot. Yet this is also for show­—it's a little too calculated, a dance that was so perfected in exhaustive practice that it lost its dynamic.

Our glimpses into the more authentic Jillian come in the scenes with Michael—not only because (coded in white and blue as the Virgin Mary of immaculate conception) she plays the part of mother, but because, in her intimacy, far from journalists and employees and the public's prying eyes, she can be more herself within the areas where she conducts her studies. Starting from when Ava asks Jillian to "science her", we never see the doctor in uncomfortable shoes again, as she retreats from entrepreneurial life and into the lab.

This is clearer in season two, for, as Kristian says, she is on sabbatical, thus isolated from general view; S2 Jillian has nobody around her, nobody to impress. Locked away in her Spanish villa, consumed by her son's disappearance, she need not wear a mask. There are no more tellingly feminine accessories, no staged stunts; her clothes and footwear are even more practical, her movements less grand but more human, more expressive (here, of course, we owe it to Thekla Reuten's underrated range). Even as the OCS invites itself into her house, making it a makeshift HQ, she doesn't fall back on the act we saw in the first season.

Jillian's stepping back from the head of her company is not just in name and contract, but in body, too; she leaves the CEO role in her office and comes home to her science and her cause, to her limited inner circle of which only Michael was privy to and into which the OCS nuns end up finding their way.

Colours also indicate a shift—we begin the series seeing her associated with light hues such as white, beige and baby blues, but when season two comes in, Jillian's striking all-white attire is nowhere to be found. The Holy Mother parallel is in shambles after Michael has gone through the ark's portal, the intangibility of this "saintly", aseptic rich genius broken down, her person brought back to Earth after flights of fancy trying to open a gate to Heaven.

We see her in a darker palette, in greys with dashes of white, yes, but never again in full white. It is not just the authorisation to be herself rather than her company's face while in her private world, but also the reflection of her inner darkness and her loss upon her very appearance.

What a more definite loss could mean, now that her son is gone for good, remains a mystery.

For instance, unlike the nun who served as her superior, our Suzanne rejects the characteristic blues of the Order of the Cruciform Sword to don a heavy all-black outfit, more reminiscent of Orthodox priests than it is Roman Catholic nuns; her resurrection through Ava does not lighten her habit, if it does lighten her burden, so we can only assume, going forward, should there be any relation between how each character expresses their inner workings through clothing, that Jillian Salvius would keep the mixture of white and grey that season two brought along... Or go darker still.

[cherryhrat]

Im ashamed to say im back on my naruto shit

Hes my son your honor, hes just a little guy

Id die for him

[kindlythevoid]

So anyway I did a thing today.

[crossbackpoke-check]

I have to ask about good dog bad dream <3

🥰🥰 oh i was HOPING for this one. ok so y’all may actually know a little bit already because it exists in the tags as tyler borzoituzzi but! good dog bad dream is the working document title/notes compilation for a fic that started with the premise of “well you see that’s actually not a dog that’s my blorbo from my hrpf shifter wolf au—”

and, because i have never formally addressed it or put it anywhere other than the tags, three important details about this fic:

this IS a semi-au fic about the detroit red wings, set vaguely in the 2018-19 season, because the wings sucked that year (but not as bad as 2019-20)

this is ALSO a fic that is mainly about tyler bertuzzi and dylan larkin, with some other wings thrown in because i've never met an ensemble i couldn't shove into a love story

this 100% exists because of mickey redmond calling tyler a junkyard dog every chance he gets and me every time going "okay but what if literally though" -> 🐺

[shidoukanae]

I would like to make an addendum to this piece with the new chapter out and say that I was wrong about Phillip, he's great, 10/10 he went from being a giant red flag of a character to being genuinely relatable and man do i feel bad about side-eyeing him for that line he said last chapter

Also this chapter finally wrapped up another plot thread I was waiting for it to return to and waaaaaah seeing someone else's POV on Helene is so nice (and we finally got another flashback of OG Helene for like,, the first time in literally forever). Helene being called out as a lonely person who hides her kind feelings behind a cold expression...man suddenly my fondness for Helene is increasing thousandfold

Like literally how the fuck does this manga keep making Helene better and better there's literally nothing disappointing about her character and im STILL shook about it

[feyburner]

I ??? woke up at 3am with this scene fully written in my mind palace and quickly jotted it down in the Notes app

*

Clark’s shaking his head before he realizes he’s doing it, and feels a twinge of embarrassment at his own bad manners when Bruce stops mid-word to look at him, brows raised.

“No?” he says.

“No,” Clark says, again without thinking, and again with the reflexive urge to apologize. Somewhere his mother is tutting without knowing why. But he doesn’t apologize, because he’s already saying, “No, it can’t—it can’t be that.”

“Okay,” Bruce says slowly. “Can you elaborate?”

He is, honestly, having trouble taking his eyes off the screen. The mockup design of his new suit is there, dark and sleek, ridged like tactical gear. The blue is like the last shade of evening before you can’t call it evening anymore, the color of nine PM in Kansas in July, so exact there’s a strong chance Bruce color-picked it from a photo. The yellow accents are the cool fluorescent yellow-green of lightning bugs. The red is dark as arterial blood. Every aspect of the suit has been updated—the colors deeper, the angles sharper, the S extending to the corners of its frame—but Bruce has done it without changing the fundamentals. It’s immediately recognizable as the Superman suit, just… well, a little cooler, maybe. A little more of the times. Even the tailoring is modernized. The neckline. The shape of the boots. Where the belt hits at the waist. Clark can tell just by looking that Bruce has not only spent a lot of time on this in general, he’s spent a lot of time designing it specifically with Clark in mind, Clark’s needs and preferences and the small discomforts of his current suit, things he might have mentioned offhand after a mission but never with the assumption that Bruce was listening or filing it away. No doubt the next slides of this presentation will detail all the hidden features of the new suit, and they’ll all be incredibly thoughtful if not slightly overkill, and Bruce will pretend his sole motive here was practicality and risk reduction and respond to any thanks with a curt nod.

And Clark wants to thank him. He will. It’s just.

“It can’t be… cool,” he says, inane. Bruce is watching him with that steady look that used to feel clinical, piercing, and now mostly reads as attentive. “It can’t be—like yours. Tactical, military-grade.”

“Lightyears beyond, actually.”

“It has to—Ma said once, a kid should be able to draw it with crayons. You know? I can’t look like a weapon. I have to—I want to look like a friend.”

He can feel himself flushing. It’s rare that he speaks like this, and rarer still that he does so while being stared at intently. Bruce may think of himself as the darkness, but his gaze is a spotlight: unwavering and revealing and more a little sweat-inducing, for one reason or another.

“Sometimes, when I show up, people laugh,” Clark says. “If it’s somewhere out of the way, where they haven’t seen me before. I show up and I look like a festival performer. It’ll be the worst day of their lives, and they’ve got no reason to trust my face, but when they see what I’m wearing—it goes from ‘Who are you?’ to ‘Who is this guy?’ And that’s a good thing.”

“Hard to be afraid of a man dressed in primary colors,” Bruce says, almost to himself.

“Exactly.”

“I see. Thank you,” he says, “for explaining.”

Clark tries not to show how surprised he is to hear that. Judging by the crook of Bruce’s mouth, his success is negligible. “Of course. Sorry I didn’t—I mean, thank you, obviously, for going to such trouble. I didn’t mean to come in here and—I really do appreciate it, I can tell you put a lot of work in—”

Bruce’s eyes cut away. “No. No need. I didn’t ask, before I…. It was only a first draft. If you’re amenable, I’ll incorporate your feedback into the second one.”

“Oh! Yeah. Yes, of course, but you really don’t have to—”

“If you have any further notes, I would like to hear them.”

There’s something determined in the lines of his face. Clark has the sense that this moment is important, that it’s a turning point, even if he’s not sure why. It feels like striking out into a sea of ice, a blank white expanse under which something precious and vital is hidden, has been hidden all along, just waiting for him to find it. To want to.

“Sure,” he says. He looks back at the suit and swallows, and knows Bruce will see the flicker of his throat and take some meaning from it, and wishes he knew what the meaning was. Or maybe Bruce won’t notice or read into it at all. Maybe Clark needs to calm down, in fact. “Um. I don’t want to assume, but does it… do things?”

“It does things,” Bruce confirms, after the barest pause. “Let me show you the next slide.”

[valeriehalla]

actual writing advice

1. Use the passive voice.

What? What are you talking about, “don’t use the passive voice”? Are you feeling okay? Who told you that? Come on, let’s you and me go to their house and beat them with golf clubs. It’s just grammar. English is full of grammar: you should go ahead and use all of it whenever you want, on account of English is the language you’re writing in.

2. Use adverbs.

Now hang on. What are you even saying to me? Don’t use adverbs? My guy, that is an entire part of speech. That’s, like—that’s gotta be at least 20% of the dictionary. I don’t know who told you not to use adverbs, but you should definitely throw them into the Columbia river.

3. There’s no such thing as “filler”.

Buddy, “filler” is what we called the episodes of Dragon Ball Z where Goku wasn’t blasting Frieza because the anime was in production before Akira Toriyama had written the part where Goku blasts Frieza. Outside of this extremely specific context, “filler” does not exist. Just because a scene wouldn’t make it into the Wikipedia synopsis of your story’s plot doesn’t mean it isn’t important to your story. This is why “plot” and “story” are different words!

4. okay, now that I’ve snared you in my trap—and I know you don’t want to hear this—but orthography actually does kind of matter

First of all, a lot of what you think of as “grammar” is actually orthography. Should I put a comma here? How do I spell this word in this context? These are questions of orthography (which is a fancy Greek word meaning “correct-writing”). In fact, most of the “grammar questions” you’ll see posted online pertain to orthography; this number probably doubles in spaces for writers specifically.

If you’re a native speaker of English, your grammar is probably flawless and unremarkable for the purposes of writing prose. Instead, orthography refers to the set rules governing spelling, punctuation, and whitespace. There are a few things you should know about orthography:

English has no single orthography. You already know spelling and punctuation differ from country to country, but did you know it can even differ from publisher to publisher? Some newspapers will set parenthetical statements apart with em dashes—like this, with no spaces—while others will use slightly shorter dashes ��� like this, with spaces – to name just one example.

Orthography is boring, and nobody cares about it or knows what it is. For most readers, orthography is “invisible”. Readers pay attention to the words on a page, not the paper itself; in much the same way, readers pay attention to the meaning of a text and not the orthography, which exists only to convey that meaning.

That doesn’t mean it’s not important. Actually, that means it’s of the utmost importance. Because orthography can only be invisible if it meets the reader’s expectations.

You need to learn how to format dialogue into paragraphs. You need to learn when to end a quote with a comma versus a period. You need to learn how to use apostrophes, colons and semicolons. You need to learn these things not so you can win meaningless brownie points from your English teacher for having “Good Grammar”, but so that your prose looks like other prose the reader has consumed.

If you printed a novel on purple paper, you’d have the reader wondering: why purple? Then they’d be focusing on the paper and not the words on it. And you probably don’t want that! So it goes with orthography: whenever you deviate from standard practices, you force the reader to work out in their head whether that deviation was intentional or a mistake. Too much of that can destroy the flow of reading and prevent the reader from getting immersed.

You may chafe at this idea. You may think these “rules” are confusing and arbitrary. You’re correct to think that. They’re made the fuck up! What matters is that they were made the fuck up collaboratively, by thousands of writers over hundreds of years. Whether you like it or not, you are part of that collaboration: you’re not the first person to write prose, and you can’t expect yours to be the first prose your readers have ever read.

That doesn’t mean “never break the rules”, mind you. Once you’ve gotten comfortable with English orthography, then you are free to break it as you please. Knowing what’s expected gives you the power to do unexpected things on purpose. And that’s the really cool shit.

5. You’re allowed to say the boobs were big if the story is about how big the boobs were

Nobody is saying this. Only I am brave enough to say it.

Well, bye!

[sobredunia]

Oh boy.

[yutarot]

she’s the man. l.hc smau

˚୨୧⋆｡˚ ⋆ humour, friends to lovers, college au, gamer!haechan, gamer!yn, everyone’s a gamer actually, loosely based off the movie ‘she’s the man’, fem reader, slowburn, angst, plot heavy

synopsis. after you discover your love for gaming, you soon find out that your college won’t let you in any of their e-sports teams due to your gender. but what happens when your twin brother leaves town just before he’s about to start at a new college, where not even NCU’s e-sports captain, lee haechan knows anything about him? there’s only one problem, your brother’s crazy ex is trying to hunt you down. will they all find out your true identity? and will their views on you change if they discover who you really are?

++ will be using the same taglist as my other works for ease, dm if you would like to be removed.

WARNINGS: language, mention of alcohol/being drunk, jokes about death, the plot will divert from the original movie, themes of sexism (at the start), cliffhangers again sorry guys, typos literally everywhere, a littleee bit of violence, small injury detail, heavy on the miscommunication trope… obviously…, lots of angst, things get MESSY, a small (?) plot twist

STATUS: COMPLETE! 08.06.24 - 09.03.24

DISCLAIMER: all portrayals of people are fake and from my imagination, in no way am i claiming that they act like this irl

MASTERLIST

[profiles one] || [profiles two] || [ig profiles]

[1 - positive affirmations]

[2 - let me cook]

[3 - dream vacation destination]

[4 - why’s he kinda…]

[5 - therapy scheduled]

[6 - winky face and all]

[7 - sorry i can’t read]

[8 - trick or treat]

[9 - “can i get your number?”] written chapter

[10 - bro shes your friends sister]

[11- double date]

[12 - canada?]

[13 - do you do weddings?]

[14 - sick and twisted.]

[15 - all of the above]

[16 - who are you?]

[17 - i don’t wanna see you again]

[18 - it’s all over]

[19 - he doesn’t miss you] written chapter

[20 - the truth]

[21 - we’ve missed you]

[22 - you’re delusional sweetie]

[23 - i guess we both had our secrets] written chapter

[24 - second male lead]

[25 - i had no idea]

[26 - is she okay]

[27 - you know her]

[28 - the nile?]

[FINAL; 29 - you already do] written chapter

END!

replies, likes and reblogs are all appreciated! feel free to send requests in my asks; scenes, chapters, characters etc.

TAGLIST - CLOSED.