#ya know how you're writing and developing a scene and then the scene developes in another direction

[vv-ispy]

GOD

[cripplecharacters]

Writing Intellectually Disabled Characters

[large text: writing intellectually disabled characters]

Something that very rarely comes up in disability media representation are intellectually disabled characters. There is very little positive representation in media in general (and basically none in media meant specifically for adults or in YA). I hope this post can maybe help someone interested in writing disabled characters understand the topic better and create something nice. This is just a collection of thoughts of only one person with mild ID (me) and I don't claim to speak for the whole community as its just my view. This post is meant to explain how some parts of ID work and make people aware of what ID is.

This post is absolutely not meant for self diagnosis (I promise you would realize before seeing a Tumblr post about it. it's a major disorder that gets most people thrown into special education).

Before: What is (and isn't) intellectual disability?

ID is a single, life-long neurodevelopment condition that affects IQ and causes problems with reasoning, problem‑solving, remembering and planning things, abstract thinking and learning. There is often delay or absence of development milestones like walking (and other kinds of movement), language and self care skills (eating, going to the bathroom, washing, getting dressed etc). Different people will struggle with different things to different degrees. I am, for example, still fully unable to do certain movements and had a lot of delay in self-care, but I had significantly less language-related delay than most of people with ID I know. Usually the more severe a person's ID is the more delay they will have.

Intellectual disability is one single condition and it doesn't make sense to call it "intellectual disabilities" (plural) or "an intellectual disability". It would be like saying "they have a Down Syndrome" or "he has autisms". The correct way would be "she has intellectual disability" or "ze is intellectually disabled".

Around 1-3% of people in the world have intellectual disability and most have mild ID (as opposed to moderate, severe, or profound). It can exist on its own without any identifiable condition or it can be a part of syndrome. There is over a thousand (ranging from very common to extremely rare) conditions that can cause ID but some of the most common are;

Down Syndrome,

Fragile X Syndrome,

Fetal Alcohol Syndrome,

Autism,

Edwards Syndrome,

DiGeorge Syndrome,

Microcephaly.

Not every condition always causes ID and you can have one of the above conditions without having ID as long as it's not necessary diagnostic criteria to be met. For example around 30% of autistic people have ID, meaning that the rest 70% doesn't. It just means that it's comorbid often enough to be counted as a major cause but still, autistic ≠ intellectually disabled most of the time.

A lot of things that cause intellectual disability also come with facial differences, epilepsy, mobility-related disabilities, sensory disabilities, and limb differences. A lot, but not all, intellectually disabled people go to special education schools.

Intellectual disability isn't the same as brain damage. Brain damage can occur at any point of a person's life while ID always starts in or before childhood.

"Can My Character Be [Blank]?"

[large text: "Can my character be [blank]?"]

The difficulty with writing characters with intellectual disability is that unlike some other things you can give your character, ID will very directly impacts how your character thinks and behaves - you can't make the whole character and then just slap the ID label on them.

Intellectually disabled people are extremely diverse in terms of personality, ability, verbality, mobility... And you need to consider those things early because deciding that your character is nonverbal and unable to use AAC might be an issue if you're already in the middle of writing a dialogue scene.

For broader context, a person with ID might be fully verbal - though they would still probably struggle with grammar, what some words mean, or with general understanding of spoken/written language to some degree. Or they could also be non-verbal. While some non-verbal ID people use AAC, it's not something that works for everyone and some people rely on completely language-less communication only. There is also the middle ground of people who are able to speak, but only in short sentences, or in a way that's not fully understandable to people who don't know them. Some might speak in second or third person.

Depending on the severity of your character's disability they will need help with different tasks. For example, I'm mildly affected and only need help with "complex" tasks like shopping or taxes or appointments, but someone who is profoundly affected will probably need 24/7 care. It's not infantilization to have your character receive the help that they need. Disabled people who get help with bathing or eating aren't "being treated like children", they just have higher support needs than me or you. In the same vein, your character isn't "mentally two years old" or "essentially a toddler", they are a twenty-, or sixteen-, or fourty five-year old who has intellectual disability. Mental age isn't real. Intellectually disabled people can drink, have sex, smoke, swear, and a bunch of other things. A thirty year old disabled person is an adult, not a child!

An important thing is that a person with ID has generally bad understanding of cause-and-effect and might not make connections between things that people without ID just instinctively understand. For example, someone could see that their coat is in a different place than they left it, but wouldn't be able to deduce that then it means that someone else moved it or it wouldn’t even occur to them as a thing that was caused by something. I think every (or at least most) ID person struggles with this to some extent. The more severe someone's disability is the less they will be able to connect usually (for example someone with profound ID might not be able to understand the connection between the light switch and the light turning off and on).

People with mild intellectual disability have the least severe problems in functioning and some are able to live independently, have a job, have kids, stuff like that.

What Tropes Should You Avoid?

[large text: what tropes should you avoid?]

The comic relief/punching bag;

The predator/stalker;

The "you could change this character into a sick dog and there wouldn't be much difference";

...and a lot more but these are the most prevalent in my experience.

Most ID characters are either grossly villainized (more often if they have also physical disabilities or facial differences) or extremely dehumanized or ridiculed, or all of the above. It's rarely actually *mentioned* for a character to be intellectually disabled, but negative "representation" usually is very clear that this who they're attempting to portray. The portrayal of a whole group of people as primarily either violent predators, pitiful tragedies or nothing more than a joke is damaging and you probably shouldn't do that. It's been done too many times already.

When those tropes aren't used the ID character is still usually at the very most a side character to the main (usually abled) character. They don't have hobbies, favorite foods, movies or music they like, love interests, friends or pets of their own and are very lucky if the author bothered to give them a last name. Of course it's not a requirement to have all of these but when there is *no* characterization in majority of disabled characters, it shows. They also usually die in some tragic way, often sacrificing themselves for the main character or just disappear in some off-the-screen circumstances. Either way, they aren't really characters, they're more like cardboard cutouts of what a character should be - the audience has no way to care for them because the author has put no care into making the character interesting or likable at all. Usually their whole and only personality and character trait is that they have intellectual disability and it's often based on what the author thinks ID is without actually doing any research.

What Terms to Use and Not Use

[large text: What Terms to Use and Not Use]

Words like: "intellectually disabled" or "with/have intellectual disability" are terms used by people with ID and generally OK to use from how much I know. I believe more people use the latter (person first language) for themselves but i know people who use both. I use the first more often but I don't mind the second. Some people have strong preference with one over the other and that needs to be respected.

Terms like:

"cursed with intellectual disability"

"mentally [R-slur]"

"moron"

"idiot"

"feeble-minded"

"imbecile"

is considered at least derogatory by most people and I don't recommend using it in your writing. The last 5 terms directly come from outdated medical terminology specifically regarding ID and aren't just "rude", they're ableist and historically connected to eugenics in the most direct way they could be. To me personally they're highly offensive and I wouldn't want to read something that referred to its character with ID with those terms.

(Note: there are, in real life, people with ID that refer to themselves with the above... but this is still just a writing guide. Unless you belong to the group i just mentioned I would advise against writing that, especially if this post is your entire research so far.)

Things I Want to See More of in Characters with Intellectual Disability

[large text: Things I Want to See More of in Characters with Intellectual Disability]

[format borrowed from WWC]

I want to see more characters with intellectual disability that...

aren’t only white boys.

are LGBT+.

are adults.

are allowed to be angry without being demonized, and sad without being infantilized.

are not described as "mentally X years old".

are respected by others.

aren't "secretly smart" or “emotionally smart”.

are able to live independently with some help.

aren't able to live independently at all and aren't mocked for that.

are in romantic relationships or have crushes (interabled... or not!).

are non-verbal or semi-verbal.

use mobility aids and/or AAC.

have hobbies they enjoy.

have caregivers.

have disabilities related to their ID.

have disabilities completely unrelated to their ID.

have friends and family who like and support them.

go on cool adventures.

are in different genres: fantasy, romComs, action, slice of life... all of them.

have their own storylines.

aren't treated as disposable.

don't die or disappear at the first possible opportunity.

...and I want to see stories that have multiple intellectually disabled characters.

I hope that this list will give someone inspiration to go and make their first OC with intellectual disability ! This is just a basic overview to motivate writers to do their own research rather than a “all-knowing post explaining everything regarding ID”. I definitely don't know everything especially about the parts of ID that I just don't experience (or not as much as others). This is only meant to be an introduction for people who don't really know what ID is or where to even start.

Talk to people with intellectual disability (you can send ask here but there are also a lot of other people on Tumblr who have ID and I know at least some have previously answered asks as well if you want someone else's opinion!), watch/read interviews with people who have ID (to start - link1, link2, both have captions) and try to rethink what you think about intellectual disability. Because it's really not that rare like a lot of people seem to think. Please listen to us when we speak.

Good luck writing and thank you for reading :-) (smile emoji)

mod Sasza

[jcollinswrites]

How the fudge are you writting so fast??? I sit down to write and end up with nothing or reworking plot instead of writing 😭Have any tips you want to share? Perhaps the ingredients to the dark ritual you perform to get the motivation and remain focused 👀👀👀

So, first of all, you'll need half a newborn, shaken, not stirred…

lol jk (don't shake babies)

Believe it or not I'm the same as you, so here are some stuff that helped me tremendously, especially with my squirrel ADHD brain:

NUMBER ONE that I needed 20 years to learn, is that… forget editing, man. You can't edit if there is nothing to edit, so first you have to sit ya ass down and just fuckin' do it. It doesn't matter if it's shit at first. It's called work in progress for a reason. Who cares if it's shit? You can edit it LATER when the whole thing is already done. What you're reading in my game is literally my first draft. Lots of scenes might change later. In fact, I'm already changing scenes in the background, I'm just not always telling you. It doesn't matter. If anyone gives you shit for it, tell them to kindly fuck right off.

Have a plan for the book (written down. Not just in your head). Don't even start writing until you have a plan for the entire book. It doesn't have to be detailed. Mine is just bulletpoints, but you should know which chapter will contain what, including plot points, character development, relationship progress etc, otherwise you'll get lost, especially in a big IF. And then as you get closer to the next chapter, you can work out more details in the plan to help the actual writing.

If you don't feel like writing a scene, then don't write it. Leave a placeholder word there (I use 'mandarin' because that word likely won't come up anywhere else in the text), and instantly move on to another scene that you have inspiration for. Later, you can just search for 'mandarin' and add the scene when you feel like it. If you accidentally come across any MANDARINs in my game, that's the reason lol.

If you are writing an IF, it helps to start simple. Write the story until a choice comes up, then write the title of the choices, and continue ONLY with the route you feel the most inspired for atm (use mandarin for the rest). Don't let your momentum die by getting bogged down in choices. That's why I have so many greyed out choices when I start a new origin or chapter. I just write write write until the end of the chapter, THEN I go back to whatever choice is the simplest to add, and put the variations in the already-existing text if needed. Repeat until all the choices are written and coded in. This way, the text might feel more organic too, because you already have a pre-written skeleton that you can just add variations in.

Keep notes. It helps to have them on paper, next to you, so f.ex. when you make 9 different deities to choose from, you don't have to go back to the beginning of the chapter every single time to look up which deities those were and what they mean, you can simply turn your head to the side lol.

Take regular breaks. Exercise, stretch. Keep a daily schedule. Eat and drink enough. Try to keep a good health. Your brain won't work if it's starved.

Know yourself and your habits, and be honest with yourself. I know of myself that once I start working on the big plot points, I won't have any motivation to come back to the beginning again. That's why I'm writing all the origin stories first, because I know that if I start going into chapter 2, I definitely won't feel like coming back to start yet another route from the very beginning. So if you don't feel like doing something, then just… don't do it. Or do it simpler. Do it smarter. Trick that asshole brain into cooperating.

Last but not least, guys, 90% of my motivation COMES FROM YOU! Your engagement, your messages, your feedback, every little interaction is what keeps me going! So write me! I will answer! (if you aren't a dick). Literally, about anything. Even if it's just "hey I really liked this small detail here", that will already make my day, seriously. I LOVE talking about my work, and I'm pretty sure every author is like that, so keep engaging with writers, because that's 90% of the reason when a novel gets finished! I'm writing for YOU! Your enjoyment, your fun, because I love telling stories, but those stories don't mean anything if no one is reading them.

[nanowrimo]

5 Essential Tips for Mastering Scene Writing in Your Novel

There's many parts involved when writing a scene. Knowing how these different pieces work together may help you move forward in your novel. NaNo Participant Amy de la Force offers some tips on brushing up your scene writing knowledge. Scenes are the building blocks of a novel, the stages where characters spring to life, conflicts brew and emotions run high. Mastering the art of scene writing is crucial for any aspiring writer, especially in the lead-up to NaNoWriMo. But what is a scene, and how do you effectively craft one? 

What is a Scene? 

A scene is a short period of time — in a set place — that moves the story forward with dramatic conflict that reveals character, generally through dialogue or action. Think of writing a scene as a mini-story with a beginning, middle and end, all contributing to the narrative. 

Why Scene Writing is Your Secret Weapon in Storytelling

Well-crafted scenes enhance your story to develop characters, advance the plot, and engage readers through tension and emotion. Whether you're writing a novel, short story or even non-fiction, scenes weave the threads of your story together.

Tip #1: Scenes vs. Sequels

According to university lecturer Dwight Swain in Techniques of the Selling Writer, narrative time can be broken down into not just scenes, but sequels. 

Scene

The 3 parts of a scene are:

Goal: The protagonist or point-of-view (POV) character’s objective at the start of the scene.

Conflict: For dramatic conflict, this is an equally strong combination of the character’s ‘want + obstacle’ to their goal. 

Disaster: When the obstacle wins, it forces the character’s hand to act, ratcheting up tension. 

Sequel 

Similarly, Swain’s sequels have 3 parts:

Reaction: This is the POV character’s emotional follow-up to the previous scene’s disaster. 

Dilemma: If the dramatic conflict is strong enough, each possible next step seems worse than anything the character has faced.  

Decision: The scene’s goal may still apply, but the choice of action to meet it will be difficult. 

Tip #2: Questions to Ask Yourself Before Writing a Scene

In Story Genius, story coach and ex–literary agent Lisa Cron lists 4 questions to guide you in scene writing:

What does my POV character go into the scene believing?

Why do they believe it?

What is my character’s goal in the scene?

What does my character expect will happen in this scene?

Tip #3: Writing Opening and Closing Scenes

Now that we know more about scene structure and character considerations, it’s time to open with a bang, or more to the point, a hook. Forget warming up and write a scene in the middle of the action or a conversation. Don’t forget to set the place and time with a vivid description or a little world-building. To end the scene, go for something that resolves the current tension, or a cliffhanger to make your scene or chapter ‘unputdownable’. 

Tip #4: Mastering Tension and Pacing 

A benefit to Swain’s scenes and sequels is that introspective sequels tend to balance the pace by slowing it, building tension. This pacing variation, which you can help by alternating dialogue with action or sentence lengths, offers readers the mental quiet space to rest and digest any action-packed scenes. 

Tip #5: Scene Writing for Emotional Impact

For writing a scene, the top tips from master editor Sol Stein in Stein on Writing are:

Fiction evokes emotion, so make a list of the emotion(s) you want readers to feel in your scenes and work to that list.

For editing, cut scenes that don’t serve a purpose (ideally, several purposes), or make you feel bored. If you are, your reader is too. 

Conclusion

From understanding the anatomy of a scene to writing your own, these tips will help elevate your scenes from good to unforgettable, so you can resonate with readers.

Amy de la Force is a YA and adult speculative fiction writer, alumna of Curtis Brown Creative's selective novel-writing program and Society of Authors member. The novel she’s querying longlisted for Voyage YA’s Spring First Chapters Contest in 2021. An Aussie expat, Amy lives in London. Check her out on Twitter, Bluesky, and on her website! Her books can be found on Amazon. Photo by cottonbro studio

[albertasunrise]

Hopelessly Blind - Hope

Masterlist

Summary: After Joel loses his wife and your best friend during childbirth. You support him as he takes on parenthood on his own at 22. But when feelings start to develop, you battle with the guilt you feel for falling for your best friend’s husband.

Relationships: Joel Miller x Reader

Warnings: Like AO3 I choose to give none. Read at own risk. 18+… this is to avoid spoilers! (Sorry this has taken a while. Trying to do as much writing as I can, when I can, but ya know how it is 🤷🏼‍♀️😅… hope this was worth the wait 😘)

Series Masterlist - Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7

The weekend of Joel's BBQ was quickly upon you. You had originally planned to bail and had concocted several, of what you thought were solid lies, to get yourself out of attending the event. Still, when Tommy had bumped into you at the bar a few days prior whilst you had a few drinks with Simion, a chap from work you had started seeing, he had invited him too. So now you were stuck with no good reason to avoid what you knew was going to be a painfully awkward afternoon.

Simion was nice. You had been on a few dates since Sandy had come onto the scene. You had hoped that getting back out there would help put a dampener on these feelings you had for Joel but alas, those pesky butterflies still tore you up inside when you knocked on Joel's door and was greeted by a smiley Sarah.

"Hey, sweetheart." You said sweetly as you pecked her on the cheek "Noah is just grabbing the desert from the car if you wanna help him." You finished with a wink, chuckling as she sprinted out the door.

You announced your arrival and placed the beers that you had bought in the fridge, rubbing your sweaty palms down the front of your jeans. You turned to Simion and gave him a nervous smile before motioning your head in instruction to follow you outside. There you found Joel getting the grill set up whilst Tommy set up the lawn games. Ali was already there, having had a sleepover with Sarah the night before.

"Hi, Mum." She called out from her spot on Joel's swing seat, her nose of course buried in a book.

"Hey, baby." You called out as you placed a kiss on the crown of her head "You enjoy your sleepover with Sarah?"

She nodded excitedly before going into detail about the movies they'd watched and how Joel had braided their hair so it would be curly for today. At the mention of his name, you turned to see him watching you closely, his eyes then flicking to the man beside you and you could have sworn his features grew darker.

"I hope she was okay?" You called out to him as you took a few nervous steps closer.

"Yup. Good as always." He replied rather abruptly and you winced at his tone.

Yes… this was going to be an exceedingly painful afternoon.

Once the food was served and beers were in hand, things went from bad to unbearable. Tommy had spent an hour interrogating Simion but to your surprise, the man took it in his stride, chuckling at how absurd some of the questions were.

"We just wanna make sure you're gonna treat our girl good, right brother?" Tommy stated as he nudged Joel but his brother simply shrugged.

"Sure."

Tommy gave his brother an incredulous look, his brows drawing together before he returned his attention to you and the man sitting beside you. You couldn't help but notice how cold Joel's behaviour was. Just a week ago he was practically pleading with you not to bail on all the small traditions your two families had started and now he was looking at anyone and anything but you. He'd barely spoken two words to you either.

"Where's Sandy?" You asked a little while later. The woman's absence had not gone unnoticed and you had also noted that no apologies had been given by either Joel or Tommy for her absence.

"We broke up." Joel replied casually with a shrug of his shoulders and you couldn't stop the look of surprise from spreading across your face.

"Oh?" You said as you tried to bury the small thrill that ran through you "I'm sorry to hear that. What happened?"

"I'm sure you are." He replied coldly and you felt your patience snap.

"Do you have a problem, Miller?" You growled, taking a small amount of satisfaction from the look of surprise that filled his face as he looked at you "You've been an asshole to me and Simion ever since we arrived."

"Babe."

"No!" You interrupted your date as you continued to rip into Joel "We don't need to put up with this." You growled "Ali, baby get your stuff we're leaving. Noah sweetie, can you help her and meet us by the car."

"But mum-"

"No buts." You said sternly, not taking your eyes off of Joel "Just do it please."

Ali and Noah didn't answer back. They simply scurried off and did as you asked, leaving you, Tommy, Simion and Joel in an increasingly charged situation. When you finally broke your staring match with Joel, you stormed into the house to gather your things. Simion helped you, grabbing a few of your things and taking them to the car for you, desperately trying to get out of the house and away from what had become one of the worst afternoons you'd ever experienced. You could hear Tommy screwing at his brother through the kitchen window and you tried to ignore how satisfying it felt for the younger Miller to stick up for you for one.

You were finishing up portioning the pudding you had made into bowls and covering them in clingfilm when Joel walked into the kitchen. He watched you as you finished what you were doing before finally piping up.

"You didn't have to do that." He said, his tone different from how it had been prior to you blowing up at him.

"I made enough for all of us. Tommy and Sarah shouldn't have to miss out just because you decided to be an asshole." You growled as you placed the bowls in the fridge "Heat it in the microwave for 3 minutes when you want it." You stated before covering the rest of the desert.

Joel called your name as you scaled his kitchen but you refused to look at him. Carrying the desert over to the table, you grabbed your coat and slung it on.

"Will you just stop a moment!" He growled out and you did but still you didn't look at him.

"I'm sorry okay." He sighed as he scraped a large hand over his face "I was being an asshole… I just. I have shit going on okay and I took it out on you."

"If you have shit eating at you, you can talk to me, Joel."

"Can I?" He asked and it was your turn to look confused "Just last week you were telling me that you were going to be too busy to hang out and now you're here with a guy and-"

"What does Simion have to do with this?" You asked and Joel's mouth snapped shut as he looked away, unable to answer your question "Thanks for a lovely afternoon, Joel." You snorted as you picked up the desert you had brought and headed to the door "Not." You mumbled under your breath as you walked out the door, leaving a very guilty older Miller in your wake.

"So you just let her go?" Tommy asked as he walked in from the garden "Not gonna tell her why you've been such an insufferable ass this afternoon."

"She's with someone now. Doesn't matter." Joel growled out before walking back outside, noting how Sarah was sitting on the swing seat with her own book in her hands. He could see that she'd been crying and he felt his anger come to a head but not at you. At himself for his inability to just let shit go.

Noah found you that evening, sitting on the couch nursing a coffee and he assumed it was likely dosed with Baileys. It was your go-to drink when you needed cheering up and after the awkward conversation that he had overheard between you and Simion earlier, he knew you likely needed some cheering up.

"You doing okay mum?" He asked and you nodded before taking a small sip of your drink "You need anything?" He asked and you shook your head.

"No thank you, sweetie." You said, your voice cracking as you spoke "I'm sorry about earlier."

"Don't be." Noah said as he sat down beside you and pulled you into a comforting embrace "I'm sorry about Simion." He said after a while and you let out a shuddering breath before taking another sip of your coffee.

"Don't know what I was thinking with him, to be honest." You sighed, wiping your tears away with your sleeve "Too soon after your dad anyway."

"You know… Just before he died, Dad told me something." You looked at Noah with furrowed brows as you waited for him to continue and the boy smiled at you "He said that you and Joel had been pretty sweet on each other before he came along."

"Noah-"

"He said that he knew that the two of you were just hopelessly blind to it." He continued as his eyes drifted to a framed photo of Alec on the wall "He said that he'd always felt a little guilty for getting in the way of you two finding each other but that he was two head over heels not to want to keep you for himself."

You chuckled at that, your own eyes then drifting to the photograph that your son was looking at.

"You know it's okay." He said after a short pause and you looked back at him again "If you and Joel want to be together. I'd be okay with it."

"But Sarah…"

"We'd work it out, mum." He said as he smiled sweetly at you "All I care about is that you're happy and if being with Mr Miller does that then who are we to stop you."

"It doesn't matter baby." You said, stroking his dark locks and giving him a soft smile "Joel doesn't have feelings for me."

"But-"

"Let's just drop it okay?" Noah nodded but he knew that you were hiding something. He just wished you'd let yourself be happy for once.

.

A knock at your front door tore you away from the TV show that you had on but you weren't really watching. What Noah had said to you was still running laps in your mind and you didn't know what to make of it. Had Alec really been able to see how you felt about Joel?

Answering the door, you were surprised to see Joel standing there. Scratching the back of his neck nervously as he shifted from leg to leg as he waited for you to say something.

"What do you want Joel?" You asked, trying to feign disinterest at his sudden appearance at your door.

"Can we talk?" He asked, his brown eyes killing any resolve you had.

You motioned for him to come in before making your way to the kitchen, pouring him a mug because you knew he'd want one. He thanked you as you handed him the mug and then you both proceeded to sit in awkward silence for what felt like an age.

"So… what was it you wanted to talk about?"

"I wanted to apologise for earlier." He replied, staring at the black liquid in his mug "I was an ass and you and Simion didn't deserve that."

"You're right." You grumbled and he looked at you then, noting your expression was impossible to read "We didn't."

"I wanted to apologise to him too but I guess I'll have to when I next see him."

"We broke up." You stated plainly and Joel's head jumped back at this piece of information.

"Why?" He asked and you snorted.

"Why do you think?" You growled, "He was invited to a BBQ at the house of the chick he's dating's best friend's house and said best friend acting like a complete Hozer all afternoon."

Joel uttered your name but you continued.

"As soon as we got back he told me that he couldn't get involved in whatever drama we had going on and left." You finished as you threw back the last of your coffee.

"I'm sorry." Joel muttered again and you let out a humourless laugh as you stood to refill your drink.

"Yeah well, so am I."

"Look I-"

"Why were you being such an ass?" You interrupted him again, leaving him to flounder for an answer "I'm sorry that you and Sandy broke up and all that but it's not fair to take it out on me."

"We broke up because of you." He rushed out and your mouth snapped shut as your eyes grew wide.

"What do you mean, because of me?" You asked after a short pause and Joel let out a long sigh before he answered.

"After that night when you told me that you wouldn't be around a while, she came over and I was talking to her about what it was that I had done wrong." He started and you shook your head as you answered.

"You didn't do anything wrong Joel."

"But then she told me that you had feelings for me." This statement made your body jolt and you opened your mouth to answer but didn't get the chance "She said that it was really obvious that you had feelings for me so I went to your house to talk to you about it…" He trailed off as his eyes grew sad at the memory "I parked up across the street and I was about to get out of my truck when you answered opened your door and there was Simion."

"Joel-"

"I knew she was wrong but to see it with my own two eyes just felt like a punch to the gut." He sighed "So a few days later I called it off with Sandy. Then Tommy told me he'd run into you and your new boyfriend and that he had invited him to the BBQ and I just… I dunno I just wanted to hate him so badly because he was with you and-"

Joel didn't get to finish his sentence. He was silenced by your lips on his and pulling away you grinned at him like a cat who'd gotten the cream before saying "She wasn't wrong." The two of you stared at each other for a moment. The air between you crackled with pent-up energy before you were both kissing again. You both allowed 10 years' worth of feelings to bleed into this kiss. You both felt like you needed to make up for lost time. Like if you stopped this kiss, the moment would disappear like a puff of smoke and it would have never happened.

So you didn't think twice when you opened Joel's jeans and pulled out his straining erection. Grinning at the whimper your hand around his member pulled from him. You climbed onto his lap and in the blind of an eye, your underwear was being pushed to one side and you were sliding down his impressively thick length.

You rested your brow against his as you allowed yourself a moment to adjust. It had been a while since you'd fucked anyone so the burn was both delicious but also took your breath away. Yet, when his hands cupped your ass and urged you to move, you soon found yourself languidly bouncing on his lap, moaning into his mouth as he hit your sweet spot as if he were made for you.

"Fuck, you feel incredible." He purred in your ear as you fought hard not to scream his name, his thumb not rubbing your needy clit and bringing you closer to your orgasm.

"Fuck." You whimpered as you bounced a little faster in his lap "Fuck Joel… you're gonna make me cum." You sobbed and he grinned.

"Cum." He purred in your ear and you did, squeezing him so tight that he fell over the edge with you.

Then the two of you were left panting in each other's arms as you soaked in the after-sex bliss. Kissing each other lazily as you came down from your highs.

"What does this mean?" You asked after a pleasant bout of silence and Joel smiled as he answered.

"It means, can I take you for dinner this week?" You smiled at him sweetly as you kissed him in answer, feeling him start to harden inside you again.

"Definitely."

Next

For updates follow @albertasunrise-ficsblog

[alkalinefrog]

Hey Alka, I had a quick question for you (whenever you have the time to answer or even if you have the time), I've been taking some storyboard classes and with my illustration background, it's been hard to really find a good shorthand for characters to really get that anatomy/gesture looking right without it being too sketchy and unreadable.

How long did it take you to find your storyboard shorthand, and what exercises would you recommend to try to find it? I'm sure it just takes time and practice, I've been doing a lot more studies and gesture drawings (currently following along all the free Glenn Vilppu videos I can find on youtube) but I wanted to ask you as well because I am in love with how fluid your anatomy is, and how clear your storyboards read. And those hands my god you're a wizard!!!

Thanks a bunch, have a wonderful day!

Heya Secret, great to hear from ya! Well, what you don’t see online is how gross the rough stage of my boards can get LMFAO. Most of the boards I post are actually overly cleaned up because I'm just doing them for fun and can afford the time! I'm not really sure how long it took to develop my shorthand, I've never really enjoyed drawing detail to begin with, so when I decided to go into boarding I kinda just leaned into it!

I’ve covered a bunch of gesture drawing exercises already if you scroll through my advice tag, but ***once you have a good foundation*** here's some stuff you can try!

First you'll want to build up an arsenal of anatomy hacks you can always fallback on, particularly for complex parts of the body. The less time you spend on details, the more time you have to focus on the overall pose and storytelling. Aim to find ways to draw with as FEW lines as possible. If I had to make a list to streamline what to practice:

Head shapes - find the most efficient way to draw the front + 3/4 + side view in as few lines as possible (the challenge is still making them look structured with dimension)

Eyes - are SO important for expressions! Unless your project has characters with dot eyes, you're going to need to find a quick way to do the circle and iris in as few lines as possible. Make sure you can convey where they're looking

Hands - fists (you'll be drawing a lot of people holding poles), open palms at various angles, foreshortened fingers pointing at viewer, fingers making grabby motions----protips: 1) half the time all you need is a vague triangle/rectangle plus thumb sticking up and that's a hand 2) if the hand is relaxed, you probably don't need to draw the knuckles. Save some time!

Feet - just learn how to make sure they look like they're standing on the ground, and do some studies of what they look like when you're running. Otherwise you can usually get away with a vague shoe or boot shape (just add toe lines if they're not wearing any)

----everything else you'll practice as you go!

Jump from SUPER rough straight into clean boards to really force yourself to be economic. I've done each of these methods for work before:

Before you start boarding with a character, sketch them a few times with the intention of simplifying their design while keeping them recognizable:

You'd be surprised how little you need to recognize a character:

Depending on the scene, you can adjust how much detail you want to include:

Stay loose/more generalized with action, especially for the "inbetweens" between key poses. Clean up enough to communicate movement and make the character recognizable.

If the character's small on screen in a wide shot, edit out most details and focus on the silhouette

Save the detail work for character acting, when you really want to be specific with their expressions and gestures.

But outside of all that, be bold and fearless!! Everyone has that stage where their boards look like spaghetti! Boarding is like handwriting; you could have really shitty chicken scratch, but if you're writing beautiful poetry, who cares!

god I love drawing hands you don’t even know thank you so much!! Good luck dude!! You’ve more than got this!!

[skzdarlings]

ooooohhh!!! that ask game is so fun!!! I have so so so many questions about all your fics and thought processes, I'd spend all week asking you everything I wanna know and picking your brain!! your so talented and I feel like I'd learn so much!! but imma contain myself to just one..... (maybe two, but I don't want to overwhelm you!)

↻ FLIP FLOP: send me a scene from one of my fics and I’ll describe or write it from another character’s POV!

right from the beginning I've been so so curious about Felix's POV in The Bodyguard series and there's so so so many moments I'd want to see from his perspective, but the one I'm most curious about is when the reader gets taken by Miroh's men and he chases after her and rescues her then drives into a cornfield to fuck her.... that whole sequence had me out of my MIND and I would LOVE to see it from Felix's pov. like, i HAVE to know what he was thinking and feeling throughout all of that!! (if that's something you're up for, obviously 😊)

I'm sorry to hear the writing isn't going well, i know how that feels. but I hope you know that you are superb and an inspiration!! I hope you have a wonderful week!! 🫶🏼🫶🏼

-yongbbokkie 🤗💙

ahhhhh love ya thank you so much!! your username popping up always delights me, send me anything bc i am more than happy to answer!! <333

i will probably just describe rather than write the scene bc lbr i can't be trusted not to drop another 100k words, but YES. that scene! oh wow where to start. this is gonna be a long rant lol sorry

felix slowly develops a lot of feelings and emotions over the course of that story, not just romantic ones but also sadness and anger and fear. by that chapter in the story, it is clear he is starting to feel everything a lot more strongly than he did before. that includes a lot of frustration, anger, and resentment towards reader's father and his operation. reader even mentions felix's frustration with her father's men, that he thinks they're badly organized and incompetent and that he's better than them. felix also seems to think similarly of her father. i do not think he is even a little bit happy to be trapped in this bargain lol

said father definitely underestimates felix overall. he thinks he has a well-behaved guard dog on a leash and is seemingly unaware he has barely managed to tether a very dangerous and angry wolf.

in that scene, when she first texts felix her whereabouts, felix's reply is mostly dry and a little annoyed (he isn't happy when he gets behind). he says something like 'thats what your father gets for sending his men to watch you.'

he turns on her location so her father's men can pick her up. he would be the first to see when she suddenly changes direction, moving too quickly away from the scene. he probably tries to contact her but obviously gets no reply.

he immediately knows something is wrong. he knows her. he isn't surprised by her initially slipping away (hence his dry retort) but he knows she runs so someone will find her, that she acts out so she will get attention, so it makes no sense she would turn and run now.

he knows it's not right. he tries reporting it but gets ignored, hand-waved, her father's team eye-rolling and saying they have it under control, that she's just being a pest like always. he knows that's not true. he knows her too well and this is not her. when her location tracking abruptly stops in place, it confirms it for him.

he knows there's zero point in trying to get through the arrogant blockheads so he takes matters into his own hands. he takes a truck - i imagine there are landscapers who upkeep the property and there was one nearby - and he swings in and drives off.

felix was not just another worker under miroh but a very particular kind. i imagine he knows miroh's maps of the city different than someone else. when he tracks her last known direction, it's like the rest of the map glows on the screen. it's practically second-nature to fill in the gaps.

there is a part of him that probably doesn't want it to be true - doesn't want to risk going back that way, doesn't want to know who's waiting on the other end, doesn't want everything with miroh to blow up in his face now when he isn't ready for it.

but more than all that, he can't lose her. and he certainly won't lose her to miroh the way he lost everything else. he goes straight towards the facility he knows exists, quickly and swiftly finding the car that took her.

i think there's a part of the old felix that comes back during that confrontation, that the adrenaline of the entire encounter and the threat it poses completely takes over him.

i think it isn't until she's in his arms that it goes away, that he realizes they're both here and alive and that tonight could have gone very, very, very differently. i think a part of him was expecting it. he has been resigned to his own death for a long while, before he even came to this household, and when she throws herself at him with all that passion and affection it's probably the first time he realizes he really, really doesn't want to die after all.

they're sitting in that car and he tells her father that he has her, that she's safe, that he'll bring her home. i think all his options and possible paths run through his head in the split second before he turns the phone off - considers bringing her right back home and pretending none of this happened, considers driving off with her and never looking back, or -

what he does, which is give into the adrenaline and passion and newfound life right now. he doesn't want something to happen before he's been with her the way he can't stop thinking about. she's a terrifying firework of emotion and bravery and insanity and he doesn't understand her half the time but he wants to, and it's absolutely crazy to him that she would ever look twice in his direction.

(he probably thinks he owes chris a huge apology because, whoops, turns out it's really easy to lose your sense after all.)

he probably tells himself it will only happen that one time because he intends to go back to being solemn and alone etc etc... of course, she's not gonna let that happen, as she drags that half-feral wolf kicking and clawing into a semblance of human happiness - but that comes with time, of which they eventually have a lot ;)

[webcomixwastaken]

Honestly, every time I see someone insist they need AI for writing, be it for getting an idea or drafting their piece or even basic grammar my instinct is to say:

"Just... GET GOOD."

Like, have no ideas? Then read more books in ALL sorts of genres, styles, and authors. Even read different age groups (if you only read YA but are over the age of 20, I promise you there is plenty of Adult out there you will love. Find it. You deserve it.) Do the same for movies, shows, and plays. Go to festivals and exhibitions and concerts. Dabble in different hobbies to observe and talk to people, all sorts of people. EXPERIENCE LIFE, that's how you'll be inspired to write about it. Know the world and how you feel in it beyond what the internet tells you to. (Also, you'll find out that your "brilliantly unique concept" has likely been done before and that your personal life experience will be the thing that makes it genuinely unique.)

Think your writing is bad? AI can't make it good for you. AI is a shitty writer. If you want to write I assume you like to read. (If you want to write but don't like to read then you have an incredibly tough, nigh impossible road to "being a good writer" ahead of you.) Again, read as widely as you can. Fanfic alone will not help you unless you only want to write fanfic which I do know applies to a lot of people. There's a fantastic thread floating around here that explains why writing for fanfic vs writing original work for publication are very different spheres. And as someone who reads a bunch of both, the best fanfic still has structure, character development, and actual plot, very similarly to books. (This is very much my subjective opinion, but I despise "no plot only vibes" -- to me both are integral to a good read. This 100% applies to tradpub too; the social media trope-focused marketing annoys me to no end. What is your story ABOUT?? If you can't tell me I have no interest in reading it.)

Instead of taking the shortcut that is actually sending you back to the start anyway, just... GET GOOD. And you get good by BEING BAD. Compose some trite purple prose nonsense rife with cliches. Have all your characters be shameless Mary Sues. Or, as I see the most often in early writers, be pedantic and repetitive as fuck because you don't know that you're doing it yet until after a year or so you look back and go "why the hell did I talk so much about this irrelevant thing? it totally disrupted the momentum of the scene and doesn't even develop character." And then, you'll realise that you've learned how to edit! Congratulations! You must understand that AI doesn't know this. AI is just plagiarising a couple hundred thousand people. AI has no brain. Don't trust it. Don't even play with it. It is a pathetic zombie concoction that only causes damage to others and the environment. Trust YOUR BRAIN. You are SO MUCH SMARTER. You KNOW what you want and like, you have way better ideas and images you want to convey. And in time you will know how to convey them accurately and compellingly in a way that sounds like you.

And finally, AI for grammar and spelling? Hoo boy do I have some opinions. Well, just one. Which is to simply GET GOOD!!

People bitch that English is a difficult language to learn but hey! All languages have their rules and nuances, so that's merely subjective! Whatever language you want to write in, learn those rules!! Seriously, just GET GOOD!! it's doable! I do it! In fact, many people do it and have DONE SO FOR YEARS.

Honestly, I don't use ANY kind of grammar software beyond the basic spellcheck automatically built into browsers and word processors nowadays (the ones that give you wiggly lines while you're typing and even then I rarely right click to accept since I find it faster to simply retype properly) because I KNOW MY SHIT. I know how to construct sentences, use consistent tense, punctuate properly, and capitalise or italicise or utilise any other convention of the English language I wish to follow or break because this is my craft, and I know how to shape it to become what I want my work to be.

So here is where I expect people to be all like "but what if I'm NOT a native speaker of the language huh huh??" Well, you're choosing to write in this language though. Do your level best -- and here is where I will say that this grammar stuff IS the most forgivable aspect anyway. Spelling errors or janky phrasing never hurt anyone when we can tell it's coming from a place of true diligence and effort, in fact one of my favourite fanfics of all time was set a summer camp and the NATIVE ENGLISH SPEAKING author wrote "councilor" until about chapter 20 when they asked us, utterly mortified, in the notes why nobody had corrected them (because the plot and characterisation were immersive AF and felt like it came from a real person with real experiences). Some of the most poetic syntax and delightful descriptions I've come across were from people writing in not their first language, or even second or third -- children and adults alike, still learning and still TRYING because they took this shit seriously and were putting in their all.

This is the part that I personally cannot comprehend (but in a practical way I do, only because I see it EVERYWHERE) of people claiming that they just can't "get" grammar and need some brainless software running on codes and algorithms to "correct" them - don't you want to be FREE of this dependence?? Wouldn't you prefer to write KNOWING that it says what you WANT it to say instead of hoping that maybe 30% will remain after a program strips it of voice and style (and then because you're no longer paying attention, it also makes your sentences just WORSE and not "succinct" at all)?? Don't you want to be grown and confident with SKILLS instead of whining for help (which just boils to someone doing it FOR you, not actual help) all the time???????? Like seriously!! Have some self-esteem!!!!! You deserve it!!!! GET GOOD!!!!!!!!!!!!!

I have been teaching fiction writing as my day job for nearly a decade now and when my students fret over their sub-par skills I always ask them how old they are. Because they should know that 9 year olds aren't supposed to spell everything correctly. Instead, they're supposed to make mistakes so they can learn how to fix them. Then, they should practise and practise and practise until they're 19 and realise that the habit has developed so beautifully that they're finding it HARD to make mistakes!

And if you're 29 and still struggling, no it's not too late. The best time was to start 20 years ago but the second best is now. Writing is pretty much a lifetime gig so keep going, and GET GOOD!!

[warsamongthestars]

There's a whole heaping lot of nonsense in TBB, honestly, and its not even the good shit.

I mean, there's bits, but a bit ain't a scene or an episode, yeah?

TBBshow seems to run on the idea of that character interaction, conversation, quirks or just breathers, are all filler--that anything that isn't immediately serving the (immediate) plot is pointless.

And I'm gonna tell ya--that's a bit like serving pie without the filling. That's like serving bread crust because the soft light bits were "filler". That is like creating the aroma of frying eggs or onions--and then just serving a cup of the resulting grease instead.

Like, congrats, you know how to mid-max speed run 100%... in the wrong fucking medium.

If you're wondering by now, what I mean by heaping nonsense--its literally the Plot Pushy Bullshit. Congratulations, doing things that only forward the maiden plot, makes your story stupid. If I want something that is simply pure plot, I would pick up a Pre-Schooler's Naptime book.

There's a reason the strongest episodes in TBB are those that center around its main characters (That aren't Omega)--the Single Crosshair and Single Tech episodes, are the strongest episodes and stories, on show, because they rely on the development of their already strongly written characters.

When you sacrifice Character for Plot, you have effectively boiled something down to being a blank pawn on the board.

Too many fall under the idea that everything that isn't immediately action oriented plot, must be Filler, and I gotta tell ya pal, if you don't have the patience to reach the story at it strengths--the problem isn't the story, its PEBCAK.

( Part of it is the environment we've all been in. High pace information environments have this bad habit of destroying natural animal patience. Which means actually sitting yourself down, and learning how to watch paint dry is probably the best cure for it. )

Any writer can do character. In fact, for example, most fanfics are nothing but character driven.

The strongest shows out here, are all character driven.

... Star Wars OG, while it started with being driven by plot stocks, became character driven by the end.

Most of the Prequel Series is character driven (if too dialogue heavy... )

The whole TCWshow is character Driven, in fact, it turned the Clones from CGI Carboard cutout redshirts into a full blown implied culture of people.

( In fact, TCWshow is So character driven, they had to plot out why these characters would have to fail come Revenge of the Sith, because at the rate they were going, they were about to hit critical AU and solve Star Wars before the OG trilogy could )

So "Logically Following Plot" is just as bad as characters "Following Logical Actions at All Times". I cringed every time I saw TBB try to "logic" its plot out every episode (which honestly makes me think that AI was involved as some point, because it was almost dream-like how it tried to march to... a conclusion. Certainly none of the ones we got, but some imaginary conclusion. )

( It air and write during the Writer's Strikes, and a lot of Disney stuff was AI written as a result. Lookin' at you, Wish. )

ADDENDUM:

Folks keep saying "If they only had more time". DUDES. OVER THE GARDEN WALL, BY CARTOON NETWORK, WAS ONLY 10 EPISODES, MADE (Written, Voiced, Animated, All of it) IN UNDER A YEAR, WITH CHARACTER, SYMBOLISM, SECRETS AND AN ALL STAR CAST. I am tired of hearing about "Oh they needed more time". That's an excuse at this point. No they didn't, they need actual Talent and Skill and a Love for the Process.

[rosesradio]

so I never finished Heroes of Olympus but also I never liked Percy/Annabeth in PJO (……. which makes me an outcast I know) my reasons were silly but I was like 13 when I read the first series. (something something she was too mean to MY Percy and he deserved better) ALL this is to say, I’m curious on your opinion of HoO Percy/Annabeth:

“was not a fan of the amalgamation they became in HoO, but that’s another post”

would love to hear your thoughts as to why it was better in PJO or whatever you feel like sharing!

so first off, you should definitely finish HoO !! i'm not a huge stickler for "you have to read all of the source material" (because i haven't read past the first ToA book), and HoO is really only Peak Literature if you're like 14 (not to say adults can't like it obv, i do, but when you get older you notice some glaring flaws lol). that being said, you should still finish it, it has its rises & falls. i for one have been rereading son of neptune (very very slowly) & listening along to the newest olympian podcast. but anyways

i honestly can relate to your take on being young & having a book boyfriend & feeling overprotective of him lol. when i was like 14 & first reading HoO, i felt that way with leo when calypso was treating him like absolute garbage...like that's my little guy lol

so my take on percabeth is kind of a, "like it more than i don't, not overly invested in a fandom sense, take it or leave it" on the tier list. i enjoyed their development in PJO despite the moments where annabeth did give him a bit of a hard time, etc. they had a close friendship & trusted each other & i think it developed into a nice relationship (i will say them getting together the morning after annabeth's older brother figure/childhood crush/war rival Died is some Unhinged romantic timing on Richard's part, but i get that ya gotta wrap up the book & the underwater kiss was still cute, etc).

that being said, i understand how they were seperated in HoO & circumstances were desperate, but obv the judo flip scene was just...ick. i think i saw a post somewhere that rewrote it to where she pulled her knife on him, he pulled his sword on her, the romans got freaked out & then they just kinda half-play sparred with no winner, and that helped percy gain back some of his memories, which i think was a sweet rewrite. but anyways.

in the rest of the HoO books they're just kinda...wildly codependant with no individual personalities. annabeth needs percy to save her in battle because it's not like she's been training Longer than he has, and percy needs annabeth's wisdom because Obviously he has none of his own, Right?? (someone save percy from the stupid allegations i can't do it in these conditions Richard—this is all your fault Richard & the fandom Is Not Helping—)

all in all i think Richard's just...not good at writing established relationships as opposed to build up, which is funny because he pairs so many ships off-page & then we gotta see the amalgamations for the rest of the books (someone save solangelo i can't i need a cig—)

also for the record i think perachel is underrated. i think there was a point in tlo where percy admitted in the narrative that hanging out with rachel was more carefree than hanging out with annabeth, and that's kind of the ideal you would want in a partner.

so i'll take them or not, i like fanart & cute hc's with them & having them as a background pair. i don't see myself writing anything with them unless it's like a request or something though. i ship both of them with other people more in a Fandom sense, remaining a casual fan of percabeth. i know there's a niche group in the pjo fandom that are anti-percabeth & say annabeth is abusive—i'm not gonna say that's a lie or the truth or anything, i can see where they're coming from but i can see the other side of it too.

so yeah, that's pretty much my unorganized ramblings on percabeth ! thanks for asking !!

[insipid-drivel]

I saw your horse post and it made me curious, because you touched on the specific skills needed and how long it takes to develop those skills and how horse temperament can affect ability and stuff. I’m really just curious, but here is a hypothetical for ya: someone who has never been on a horse before or maybe ridden once with help NEEDS to ride a horse for [insert some important, non-negotiable reason here]. The horse is relatively well tempered and has a saddle, stirrups, reins, etc. and the person is careful not to spook it. Can they ride this horse? What are some things a total beginner in this instance would need to know/do to be able to ride this horse? It can be badly ridden/totally unskilled/painful if they’re not used to it, i just want to know if it’s POSSIBLE and what it might be like. I’m a writer, so work with me a little here 😂 (i’m not even writing anything with horses right now, I’m really just curious lmao)

Okay, I love this question, and thank you for providing some specific examples! Let me do my best to break it down for ya based on situation:

Something to keep in mind is the era in which you're setting the scenes for the horses in. If you're talking modern times where horses are luxuries and not necessities? Privately-owned horses tend to only be comfortable with being ridden by people they've been acquainted with and are given guidance by handlers they trust that the new person is okay to get on the saddle. Most well-trained and good-natured horses, in situations with riders they don't recognize or aren't sure of, will usually default to the nearest person they already know and respect, and will accept a new rider if their Beloved Person indicates it's safe and okay. If they're alone, they're not likely to want to cooperate. It acts as its own form of insurance for keeping thieves from breaking into your barn or paddock and riding away with your very, very, VERY expensive horse. (Really though, the cost of keeping a horse is absolutely bananas and always has been; they are EXTREMELY high maintenance and resource-intensive).

So, say the horse this inexperienced rider is trying to get on is a good-natured horse that's used to carrying newbies and strangers. This isn't weird, because there have always been trainers that teach horses to tolerate skill levels of all ranges. Otherwise, kids wouldn't be able to learn to ride very easily during eras in history where horses were your only source of fast transport.

Firstly, horses can have a sense of "work hours". They're diurnal animals and usually prefer to sleep as soon as it gets dark, and wake up and expect to be fed and handled in the pre-dawn hours just before the sky starts to lighten, so they tend to be a lot more approachable and available during the day than if you try to approach at night.

Your character's first hurdle is "gentling" the horse, or convincing it that it's okay to relax enough to let your OC come near and handle them. Horses have nearly 360 degree vision, with their blind spots being directly in front of them and directly behind them. Approaching a horse at a slight angle head-on, slowly, and expressing gentle words and a calm, affectionate demeanor can help a strange horse relax faster, especially if your OC has something to give them as a treat, like an apple or fistful of oats.

(For your OC: Wherever horses are kept overnight, there will always be a food or grain store very near to where the horses are, if not within the same barn as the horses sleep in. The grain store is usually locked for the horses' safety, but if your OC can get in there and grab a fistful of oats or cracked corn, a horse is gonna be much more likely to wanna make friends)

Your OC should never, ever, ever come up behind a horse. Horses will kick anything and everything they perceive behind them as a potential annoyance or threat, including their owners and riders. If your OC has to get around the back end of a horse with no space to stay clear of the horse's kicking-range, they should either not risk it at all, or try to press the front of their body against the horse's hip and slowly hug their butt and scoot around to the side they need to be on. Then, if the horse kicks, your OC will more likely be pushed and knocked sideways instead of impacted with a fist made of solid Hobbit toenails.

Your would-be rider's next hurdle? Getting into the saddle. It looks easy to just step into a stirrup and throw your leg over, but it is actually an acquired skill and exercise (the kind of groin-pull you can give yourself from trying to get in the saddle will make you cry for days), and your character may need a boost using something like a box, stump, or step-stool to make getting on easier. After a while of practice, your muscles build up enough that most riders don't need a boost for long, but complete newbies tend to need an extra boost. Then, it's a matter of grabbing onto the saddle horn (at the top of the horse's shoulder blades in the middle of their back) and slinging one leg over the horse's back. A lot of people have an easier time using their dominant leg as the one they throw over the horse's back, with their non-dominant leg being the one on the boost or in the stirrup, while other people can benefit more from the opposite. It's up to you, really.

The hardest thing your OC is gonna deal with in the saddle is maintaining their center of gravity. Yes, the stirrups help a lot, but the more heavily they sit in the saddle, the rougher the ride becomes. If your OC has testicles, they're going to get badly thrashed if they don't sit with their pelvis rolled forward, so the widest, fattest part of their butt is what's resting on the saddle. If they have a vulva? Yeah, it'll still hurt, because straddling the horse and bouncing is going to cause the soft tissues of your OC's vulva to grind against the front of their pelvis. It hurts. I speak from experience on that one.

Figuring out how to make the horse go is the next challenge if your OC has never been around riders before. Most people are used to seeing a horse kicked into a gallop (where you thump their sides with your heels), but I guarantee your OC will be immediately flung off if they try to hold on to a galloping horse. You have to know how to move with the horse the faster it goes, or else you're just not going to stay on it. Generally, horses are taught to speed up with a gradual squeeze of the heels against their thighs, not a kick. A gentle squeeze, and often a clicking noise with the tongue, is usually enough for most horses to start walking forward.

Another tricky part is properly holding the horse's reins. The reins aren't just one strip of leather that you can pull left and right on to direct the horse; they're usually two leather strips, and a proper beginning holding position is where you make the two strips resemble an arch like a rainbow, where one strip is tighter than the other. Controlling a horse's head includes controlling how far its head is tilted up or down as well as left and right, and there are certain commands that can only be given in combination with certain motions with the reins that an inexperienced rider would never know about, much less how to use. However, it's not unreasonable for them to already know that, while squeezing/kicking with the legs means "go", pulling evenly and gently toward themselves with the reins can signal the horse to slow down or stop.

Your OC may manage to stay alright in the saddle with a trot (the next sped above a walk), but it's very bouncy, and they may fall backward or sideways and off the saddle as a result. Canters (3rd fastest) require even more muscle control than trots and even gallops (full speed), and I can say from my own experience that learning to canter was arguably harder than learning to gallop for me.

So... your OC isn't likely to have great control over the horse at anything faster than a walk, is likely to fall off if they don't have a good sense of their center of gravity, and if they aren't already in good shape? Will inevitably get exhausted from riding. Riding takes up a lot of muscle, and I still remember my legs giving out the first time I ever rode a horse and got off; it took so much control over my legs that I could barely walk after less than an hour of riding.

So, it's possible for a completely inexperienced rider to hop on a tacked-up horse and ride, but they're likely going to struggle a lot with their balance, keeping the horse relaxed, communicating with the horse, and, potentially, a lot of muscle soreness and weakness from a long time in the saddle for the very first time that can make it very hard for them to get to someone in a hurry if they can't ride the entire way to the [important plot point goes here].

I hope that helps!

[tiredmamaissy]

hey, i want to get into writing but like idk how 😭 like how would i even start it off, how to finish, how to write smut? yk but i wanted to ask u bcs ur so good at it, so maybe u could help😋😋, perfectly okay if u don’t 😭

Hey! Thank you so much :').

I'm flattered that you're even asking me this question.

I honestly have no specific way of writing! (not that I'm aware of at least). I kind of feel like my writing is forever changing. When I wrote 'neteyam's first rut' (first post) I had the idea in my head for like days. One night I was like 'I literally can't keep this in my head any longer'. So I wrote it out, in no specific way/style of writing and did a quick proofread and decided:

"hey, why not post this shit? lol people probably won't even see it. and then i won't have this filthy smut in my hard drive for people to find when i'm dead (not even joking, this was literally what was going through my head.)"

But since I feel like my writing has changed a bit, hopefully not too drastically or out of character. Of course I've also gotten a little more comfortable on this site, too. :)

My experience with writing goes back to high school and university. I majored in a 'soft science', as they like to call it. Did tons and tons of research papers (way too fucking many to give it a number). So all I can really say about that is the more you write the easier it becomes - kind of like a muscle memory? Eventually it just flows out of you. Also reading. Reading helps ya know, the more you read the more you're exposed to other styles of writing, vocabulary, the whole shabang. Like @lovemyavatar, I love her style of writing, literally obsessed (and she knows it, hehe.)

I'd say write when you're motivated, inspired - driven. Or else it'll kind of dull the sparkle and take the fun out of it (wasn't fun writing any of those papers). So when an idea pops up, just go for it. Don't even think about grammar, vocabulary, etc. Just get that shit out of your system. You can always go back, fix any errors, and change things up - switch out a word with another, rephrase a sentence (or a paragraph or two), change up the plot - whatever you see fit. If I'm mid-washing the dishes and I get an idea I'll stop and make a quick voice note or a note in my phone.

As for starting and finishing, hmm. These are good questions, because I kind of feel like there's no standard or set way to start or finish literature. It all depends on what you're writing about and what your intentions are with it. What are you trying to portray? How do you want the reader to feel? What tense do you want to write in/most appropriate? What's your plot, if any? Where does it take place? What tone of voice do you want to use? How do you plan to differentiate the characters? I like to imagine the character's voice in my head actually saying the phase, or ask myself if Neteyam/Lo'ak would really say this.

For example I did a double POV for the first time, and when researching about it the article said "...you should be able to flip to a random page, read a couple sentences, and know which character is speaking." Which is so true. So I tried to keep that in mind, and focus on the characters development and make their voices more distinct.

I read a Lo'ak one-shot on here and a lot of people (including me) wanted a part two - I'm assuming so we could get some sort of closure/feel better/happy ending. But, the authors intention was to portray him in a dark light - to hurt the reader so to speak. So well-written and I really love their other work, too.

As for smut 👀. I'm honestly still new to this so I'm learning as I go. I love to consume smut so that has definitely helped - seeing other people and what terms and vocabulary they use. Overall, I just try to be very descriptive, so that the reader can really immerse themselves into the scene and feel what their character is supposed to be feeling. I try not to go overboard with the words though, because that can take away from it at times. For example, I wrote about a fight scene with Neteyam and Auzo (in 'with my life') and I kept it short and simple - "He throws a punch to his jaw, knocking him off his feet." type of shit.

I also do some research (lool thought I was done with the research life). My google searches are riddled with "synonym for..." "how to describe [this action] in writing". No shame in doing your research. There are a few blogs on this site that actually help out in regards to basic knowledge of coitus, cunnilingus, fellatio etc. as well as other sites, too! They list descriptive words, alternatives to 'she said' (lool i eat those up), other do's and don'ts.

And of course, I do some research about the na'vi. I try to make it somewhat realistic, especially with the fic I posted 'with my life' (longest one to date). I did some deep digging on their website about the 'first blood' ritual, and just other simple information about the flora and fauna of the planet.

This is my favourite source of information for smut.

Out of all the sources I've read, this is the best one so far. If I'm ever in a stump, or I feel like I need a better fitting word - I'll refer to this. This author also includes some really good points about sex, down to first times, anal - the whole works.

This is my favourite source of information for avatar.

I hope this helped somewhat and that I was able to answer your question! If you do get into writing, and you do decide to post it, I'd love to read it.

Sorry this is kind of lengthy, I have an issue with overwriting, and overall just talking too much. lmao

~ issy 💜

[kiwibirdlafayette]

Hey there! What happens in your Mamma Mia/Trollhunter AU? And how do you feel about the Childhood Friend Romance trope, have you seen it done poorly or good? I’m thinking of how to write Draal’s death for my own fanfic, but what kind of heroic sacrifice should I give him?

Heya! Sorry its taken me a hot minute to get to this ask I honestly kinda forgot I had a TH Mamma Mia AU its been so long xD

From what I can find (since I dont believe I ever wrote anything down and only really made one drawing for it xD) I remember it mainly followed the plot of the musical, with Deya as Donna, and Aaarrrgghh as Sophie (and ofc Blinky is Sky because troll dads solos i've never faltered on that) IIRC, the changeling trio (Otto, Strickler and Nomura) were the mystery dads, but it was more about who 'created' him because I might have been goin by canon troll creation headcanons with the whole rock magic shit xD I also didnt ship any of em with Deya but it still couldve been crack at that. GummGumm experimentation couldve been a thing too.

It was nearly a fully troll dads AU but my OTP brain was like nah man I don't wanna make potential other pairings besides Blink n Aaarrggghh so theyre Soph and Sky (plus. lay all your love on me troll dads. can you just imagine AOUGH /pos leavin yall w that image)

Childhood friends to lovers is a really good trope! I've definitely seen it done really well and also not that great, and I've used it myself as well (Trollhunters marching band AU, c!Skizzpulse, origins Syndisparklez) I find it tends to work better when its not so much a blatant "ok now were older and adults we obviously have to go beyond just friends its obligatory" but more like "ive known you a long time, and maybe i fell in love you for other reasons then that but you're still my friend and we just get each other because we're already so close", like its gotta develop beyond just growing up in someway for me to really be invested in it xD

and oo sacrifice love me a good sacrifice :eyes: I don't know the plot of your fic, but if ya do wanna have him sacrifice himself, doing so against the will of the others is always peak angst (i.e., like Jim is meant to die or something, and Draal takes the fall instead before anyone else or him can give in)- that could be stuff like being the vessel for taking in the evil to prevent it from harming anything else, or taking out the big bad with him to save the rest of them :3 Trading his soul for someone else to live would also be kinda cool, or if you want it a battle scene, using himself as the weapon that ends the final boss smiles

[wondereads]

Personal Review

The Scarlet Alchemist by Kylie Lee Baker

Summary

All her life, Zilan and her two cousins have been preparing for the exams that would grant them government positions. Zilan, who strives to become a royal alchemist, uses her abilities to raise the dead to fund their studies. She hates the rich clients she works for, who fear death so much they eat gold infused with the power of immortality to stop their aging. However, when comparing making gold for the rich to a life of powerlessness, she will put aside her morals for her future.

Plot 1 2 3 4 5 6 7 8 9 10

The plot of this book is one of the best I've read in YA fantasy. While it starts with an exam and starts becoming more focused on rebellion, a not unheard of story in this genre, the way it is executed is simply amazing. The magic system and world, which really feels like historical China, pull you in, and there were so many good plot twists. While there might be some you're able to predict, there were plenty that completely knocked me off my feet. Then the material is a lot more mature and gory than one would expect from YA; it's visceral, and the consequences feel real.

The magic system of this book was perfect for this kind of story. There are rules and limitations introduced from the beginning that play a huge role in allowing those amazing plot twists to be executed. Also, I just find the inner workings of alchemy incredibly intriguing. The worldbuilding concerning the social situation of China during this alternate period also works really well for the plot. The decision to have the elixir of immortality imbued in gold was a great choice to both emphasize its wasteful, greedy nature and to exacerbate the wealth gap in a way that feels eerily similar to modern times.

Characters 1 2 3 4 5 6 7 8 9 10

Zilan is an amazing main character. It's quite common for YA books to have these hyper competent characters that are the best in their field. It's fun, but it can feel unrealistic and as if they don't really face many challenges. Zilan is incredibly skilled, and she can do things no one else can, but she has a lot to learn. Her time in the palace definitely shows that, and there are a lot of moments where she is too impulsive or simply doesn't know how to go about something. Her competency feels real with plenty of scenes exemplifying how hard she's worked, but she also learns throughout the book.

Zilan's relationship with her cousins, Yufei and Wenshu, so close they're more like siblings, was particularly interesting. One thing I really liked about this book was that although there is a romance subplot, most of the interpersonal conflict came from Zilan and her family. Their relationship is incredibly complex; they're obviously very close, but there are so many odd circumstances surrounding their lives that it can be hard to tell where they stand with each other, which is used for some very compelling conflict.

The aforementioned romance was pretty good in my opinion. I'd like to see it developed more, but I get the feeling that the kind of incomplete vibe I get from Zilan and Hong is on purpose. They're both at very vulnerable points in their lives, and they find comfort in each other, but they both have a lot of issues, and I really want to see how their relationship works in the second book. Finally, one of my favorite characters was the villain, Empress We Zetian. She is unapologetically evil, and she's truly terrifying. She didn't feel one-dimensional, but she was also totally irredeemable and a villain that really felt like a threat. She outsmarts Zilan on multiple occasions, and she really brought the more dark tone of the story into the spotlight.

Writing Style 1 2 3 4 5 6 7 8 9 10

The writing of this book was incredibly intense. It seems to prioritize modern readability over exactly matching the historical setting, but it rarely took me out of the story. This book honestly feels closer to NA than YA because of how dark and gory it was. As I mentioned previously, consequences in this book are horrifying and constant, taking a much more extreme turn than most YA books. There were moments where this book felt like it was verging on horror. For example, there is a scene where the empress and prince are eating gold in which they, while unchanged physically, become these voracious monsters, and it sent shivers down my spine.

I would say my one critique of this book would be that there are certain things that feel a little rushed. Trying not to spoil too much, that would be Zilan and Hong's situation, which sort of felt like it came out of nowhere, and when Zilan starts to take a more rebellious stand against the empress. However, it didn't detract from the enjoyability that much.

Overall 1 2 3 4 5 6 7 8 9 10

This book was absolutely stunning. The characters were amazing, the plot constantly took me by surprise, and the writing is a great blend of readable modern language and the intense style that usually accompanies fantasy. Zilan is an amazing main character; she’s competent without being perfect, she’s ruthless and driven without being completely heartless. Her cousins, Yufei and Wenshu, are particularly interesting, especially concerning their relationship with Zilan and how complicated it is. The love interest is a good balance to Zilan, though I hope to see their relationship develop more. Empress Zetian is a chilling and horrifying villain who is truly a terrifying opponent. The plot was constantly twisting and turning, keeping me on my toes, and while I found some moments a little too fast paced and would consider this more NA than YA, the overall quality of the story definitely makes me want to keep this at a full 10/10.

About the Author

Kylie Lee Baker: Japanese-Chinese-Irish-American, plays the cello, also wrote The Keeper of Night

About the Reviewer

My name is Wonderose, and I post a reading update every week with the occasional review and themed recommendation. I take suggestions, and you can check out my pinned post for more about me :)

[dungeonsandblorbos]

hi! I love your blog! I didn't ever think of writing about ttrpg on my writeblr blog, so thank you for sending me down that tunnel! It's making me see my table top characters in whole new ways to think of them as oc's. (and honestly inspired by you im thinking of rebranding my blog to include ttrpg stuff now yay) Quick actual question, since this is an ask after all, how do you like to get to know a new oc when you have first created them?

aww, thank you! glad to know i can offer some inspiration there, and i look forward to learning about your PCs/campaigns too if you do end up posting stuff about them! 🥰

and ooh, that's a great question. there's a few different things i like

for my PCs, i usually only have vague ideas at first, so the process generally starts with me pouring over the rulebooks for the right class/subclass, background, feats, etc. to match the vibe i have in mind. this helps me narrow in on a more specific vision of the character and sometimes even gives me some new ideas to play around with. from there, it's often a lot of just writing things down, either in the character sheet or on my designated backstory doc, until it's time to actually play. it can take a few sessions to feel out a new PC and settle on how i play them, but i never really fully know them until i've "been" them, ya know?

if i'm getting ansty or want to do more character work in between sessions, i like working through lists of questions (especially when they're DM-provided). i really enjoy Ginny Di's POV Roleplay video series, especially this one: POV Roleplay: You're treated by a healer video link, as a more interactive style of questionnaire. essentially, Ginny takes on the role of a D&D-style NPC and has a "conversation" with you, with pauses in the video to allow you to respond in character. it can feel kinda silly at first, like a bizarro adult version of Dora the Explorer, but once you get comfortable with it, it's a pretty fun way to get into the character's headspace and explore how they think and interact with others in a zero-stakes, non-canon environment.

finally, i tend to do a lot of daydreaming and expanding their backstory doc. like, when i say that i am mentally ill about Cerris or Ariel, i am not exaggerating. i have hyperfocused on them to the degree that for, like, a month at a time, any time i wasn't actively focusing on something else, i was thinking about one of my boys. it's how i'd deal with long public transit to and from work when i didn't have headphones (and at least once missing my stop because i was too engrossed in blorbothinking). it's how i'd fall asleep. it's how a quick shower would turn into twenty minutes of me standing under the hot water not actually bathing, just thinking about character things. and Ariel's backstory doc (which also contains a good amount of worldbuilding content, as i got to help the DM develop the country he's from) has ballooned from its original, like, 4 pages to a solid 18-20. i have family crests and pedigrees and height comparison charts and explanations of noble social customs and naming conventions. it's ridiculous.

in a similar vein, i'll sometimes write letters and journal entries from their perspective, or random backstory scenes. these are especially helpful in getting a feel for the character's voice, which is a key part of writing and roleplay for me!

for non-PC characters, both player-created NPCs and OCs for non-TTRPG projects, i'll do some of the same things, but a lot of it ends up revolving around the simple question: what do i need them to do in the story i'm trying to tell? what characteristics and storytelling elements are going to best allow them to fulfill that goal? it sounds very formulaic and detached when i write it out like that, but in practice it feels much more personal, like helping a character discover their purpose in life

anyway TLDR: basically i give myself free reign to hyperfixate on the character and think about nothing else for at least a week straight 😂 when you spend that much time thinking about a character, it's hard to not figure out almost everything about them!

[bloggingboutburgers]

Heyo again! I wanted to say that your comics are lovely to read, Keep it up!

You don’t need to respond to this but I also want some advice from ya, its been pretty bumpy road for me on my art Journey, The good and the bad stuffs, I started drawing again in last year for almost 3 years and I have been improving my art style, I have a small but lovely followers on two social medias, I enjoy making that I love and even making my own artwork but sometimes I feel like I am not artist enough or interested enough, so I maybe ask you for some art advices? Any advice is fine but I want to do a story to draw and tell but I’m not good at writing or experience at least, I also want to start commissions if possible if anyone interested in my artworks but I don’t have a payments yet for now,

I probably search up these things but I want wanted someone who experience just before possibly

You might not understand this submitted question cuz I don’t know how to Express my thoughts and feelings if that makes sense, and you don’t have to answer it if you don’t want to if this isn’t your thing, that’s all from me hope you have a good week

Hi bean! Sorry I'm replying so late! Don't worry, I think you were pretty clear in formulating your question!

I just am not sure if I'm the best person to answer or give advice on that because... I'm not that good an artist at all. I have trouble sticking to discipline, I only ever draw what I like without challenging myself too much unless I REALLY want to, and... Yeah. No wonder I'm at the tiny level I'm at in my 30s, to be honest. The only reason why my art ever gets positive reactions is because I happened to draw something that people liked enough, and even that is super dependent on timing and other factors. It's very tough to get noticed, so I've found, or if it IS easy, then I must be a bit dumb, because I haven't figured it out.

One thing that I feel HAS positively helped me a lot though, has been entering art challenges and contests, and there are plenty of those out there, which is good! If it's anything that can help me practice more towards my goals, then it's a good experience. Be it a writing challenge, a drawing challenge on a specific theme, a comic-drawing challenge or whatnot... Personally I find they always give me an opportunity to develop ideas in a way I like, and to end up with a final product which I don't necessarily always like, but which at least showcases my progress.

I really don't do commissions often because I don't need the money that much, so the extent of my experience goes to IRL stuff and iterances where someone has specifically seeked out a commission from me, so I'm also not the best at giving advice regarding commissions either TwT But if that's something you want, I'd really recommend to go for it! I set up a paypal account to receive payments when I was about your age for translation gigs, it's tough at the start but then it pretty much rolls off pretty easily, and I've only sworn by that, but I'm sure there's many other trustworthy options out there as well! (I really don't have that much experience in that sense, haha TwT)

But yeah... Also overall, I guess, no matter how hard impostor syndrome tends to hit when you're an artist, especially when you're still developing what you want to do and all, it's definitely important to actually go out there and show yourself out. Dare to say "Yeah, I make art, so I'm an artist, let me in on the artist scene." If you want to make art and show your art, overall, nobody has a right to tell you not to, or to tell you you're not an artist, no matter how much societal pressure there is against that. One's gotta have the courage to say they're an artist, or at the very least an aspiring artist, if they wanna be one, it's actually a key part of the process. (Arguably I haven't been good at it lately. I haven't put myself out there much for art gigs or challenges and whatnot. I should really go for it more.)

But yeah TwT Sorry, I feel like I've been writing a whole lot not to say that much, but I hope it's been a little helpful at least! Also from what I can see, and especially from the first years I've known you, your art already has improved a ton, so from my point of view, you're doing good! Don't give up, do your best not to be scared and to fight off that voice in you that tells you you're "not enough of an artist". And hopefully you can keep having fun drawing what you want to draw, that's super important, at the very least to me, I've kept swearing by that, whether what I like drawing is popular or not.

(PS: Listening to music and imagining situations to it and reading new comics that speak out to me are two surefire ways to get my inspiration going too, in case that helps!)