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#too many words
dyrewrites · 4 months
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I cannot write novels of a reasonable length.
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anjuyn · 2 months
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Me: He is a responsible and serious person, although he hides behind an ostentatious insouciance. He feels guilty and obligated when someone is forced to take care of him in a moment of weakness. He has anemia. He doesn't like fatty foods. In fact, he does not like to fall asleep in the wrong places for this and he is genuinely embarrassed if this happens. He doesn't mind being the scapegoat and being the responsible alone if it helps others. He likes people, but doesn't like noise. He loves his brother and always takes care of his family, even if his methods are not always successful. Deep down, he is a socially awkward, introverted person who is afraid to say the wrong thing. He's a bookworm who doesn't like to read. He is a kind, attentive, creative, gentle person who wants to live a happy life.
Also me: explain your smallness rei. put him in pocket. SILLY. I'LL EAT HIM APSKDPAPPSPALSPSLAPLSPS *sounds of madness and lack of words*
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freedomseeker91 · 4 months
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May or may not have a 22,000+ piece that I’ve been casually chipping away at the last while. It started off as a small one-shot and then I get seriously carried away. Posting this here to hold myself accountable so that I finish it. Below is a tiny snippet.
Sorry for being away so long. I’ve been dealing with burnout and reacquainting myself with antidepressants so my motivation to do anything other than sleep and survive hasn’t been all that high.
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“I love you, every single part of you, even the parts that you can’t or don’t, and on days when you love them a little less, I’m gonna love them a little more until you realise that everything you are is exactly why I fell in love with you. And nothing will ever change that.”
Chloe didn’t say anything else, instead she cuddled up next to her girlfriend and held her. Allowing her to grieve whatever she needed to grieve. Because Chloe knew there was nothing she could say or do to fix whatever Beca felt was broken.
All she could do was be there to remind her that she would love her no matter what.
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foodsies4me · 7 months
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Not sure if this is the place to put this but had another realization awhile ago about something Max said very early on in AWG: when he was introducing himself to magus he said he was “10 not 9,” and this means that what Maryse and Robert did with the incident when Max was 3 HAS HAD GROWTH CONSEQUENCES THAT HAVE LASTED YEARS. Also that Max is probably canonically taller in GWSR because Magnus intervened. I love all the interconnected world building, this is absolutely amazing, thank you so much for making it! :)
P. S. Also am really looking forward to Magnus learning a bit about what Mayrse and Robert put Alec and his siblings through, can’t imagine that he could feel any more hatred for them but it may amp it up a notch somehow.
This is the right place to put it! (Or the comment section on ao3, whichever you prefer, I'm happy to ramble anywhere about AWG worldbuilding. Or Malec. Or shadowhunters...I just like rambling tbh)
Max is canonically taller in GWSR, yes! While AWG Max isn't quite ten yet (hence why he says "almost ten and not nine") the habit did come from people thinking he's younger than he actually is. Of the fearsome foursome, Max is the shortest and the smallest despite all of them being the same age. This Max also has a rather spectacular scar - or well scars- on his chest and thighs from what happened which the other Max doesn't because Magnus healed his injuries.
Magnus is going to find out more about the Lightwood parents - Lightwood children dynamic in the next installment. And, while hearing how they treated Alec is going to make him angry, finding out Max came a hair's breadth away from dying and spent over a month in a coma is what makes him blow up every lightbulb in the loft.
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unown-jane · 4 months
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It’s time!
DSAF UT AU
Lore explanation-
But before I do, I’m laying a few things out
First, I won’t be revealing everything. I’m keeping some things hidden to be revealed later.
Second, I intended this to be a ask blog, but since no one ever asks anything, I’ve been just pushing it along- I probably will stop doing this because it’s frustrating and I have no sence of direction of what I should exactly do next.
Thirdly, This will contain spoilers for Dayshift at Freddy’s and Undertale. If you didn’t know that by the fact this is a DSAF undertale AU, I don’t even fucking know what to say.
Now, LORE EXPLANATION:
Who is who?
So Papyrus and Alphys are both Diane (Dave). I feel Papyrus energetic personality fits Diane. Dave also is shown to be clearly good with technology (the fucking fazbunker) so it fits with Alphys (and something else but I’ll touch on that later).
Sans is Jack. Jack honestly seems carefree till people piss him off so Sans fits- plus he’s protective over Papyrus (which is Dave) so it makes sence. I will emphasize one thing though.
JACK AND DAVE ARE NOT IN A RELATIONSHIP.
I’ll explain more when we get to the next section but yeah, they ain’t dating.
Dee is Undyne. Why? I don’t know. One of my friends suggested it and now it’s canon.
Mettaton is Breadbear/Fredbear. Do I even need to explain this one?
Henry is Gaster. No comment.
So what’s exactly different with this AU besides it being undertale and Dayshift at Freddy’s fused together?
Jack, Diane, and Dee are all monster human hybrids. One of their parents was a monster, the other was human.
Here’s one thing that may piss off people but I don’t care.
Dee and Jack are brother and sister, and Diane is sort of their unofficial adopted sister. Diane is not blood related to Jack or Dee but they accept her as part of their family.
I’ll give a piece of Diane’s backstory that hasn’t been revealed yet to sort of explain this-
After Henry fell into the core, Diane became homeless and alone. She would often lurk in Snowdin and the nearby forest, stealing scraps and staying hidden.
Jack found Diane one day rummaging in a dumpster behind Grillbys and decided to take her in after noticing the fact that
1. She’s clearly in bad shape
2. She’s also a human monster hybrid
Dee was apprehensive at first but eventually accepted Diane.
(If you’re wondering , Eve is Diane’s mother, Henry is her father. Jack and Dees parents were different obviously)
I’m going to give some clarifications on some stuff that I made vauge in some of the previous posts of the AU
Diane did do some child murder. She actually killed 5 of the 6 children before Frisk.
This is because of Henry’s manipulation.
Diane did end up feeling guilty and regretful of her murders and grew into a deep depression. She didn’t tell anyone besides Asgore for a long time.
The TV is the 5 souls haunting her.
I’m getting sick of typing soooo
If you have any questions or want further clarification, Ask me. I’m just tired of typing this one massive fucking post.
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lorcblog · 2 months
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My amateur-hour lessons learned about writing (as opposed to designing) RPGs
Having now released a whopping two (2) RPGs out into the wild I’ve zero authority to say what’s good practice. But I kept a big list of lessons learned. It’s something I find helpful to refer back to. There’s a few traps I find myself repeatedly falling into and this reminds me of them and how to avoid them.​
I’ll never create anything good if I’m not willing to create something bad first.
Even if nobody else reads or plays this, I’m creating for my own entertainment and self-improvement.
Every idea is perfect in my head. Pin them down in writing to examine them more critically.
Talk about what’s cool about this game, not how it’s unlike other games.
Directly stating what the thing is is clearer and quicker than saying what the thing isn’t. 
Write for the benefit of people who’d enjoy the game, not to persuade those who won’t.
At all times consider what the reader wants to know and what it’s helpful for them to be told. 
Say the thing without preamble. Saying I’m going to say a thing is a waste of space.
That means not beginning a section by restating the header either.
In rules, say clearly what to do before getting hung up listing all the things not to.
Avoid game voice – “and yet-”, “their very-”, “the utter-” etc. Just write normally.
Don’t be allergic to contractions. Sentences get stilted without them.
Make it fun to read – address the reader directly and let a little personality show through. 
Starting a sentence with a conjunction is fine as a little treat.
Mostly. Tend. Usually. Qualifying all my statements is weak writing. Let exceptions prove the rule.
It’s fine to write things not intended to go in the final doc. Sometimes it’s helpful for me to write it, even knowing it’s destined for the cutting room floor.
Writing lists is fun and easy but it’s not real writing. (Oh hey!)
Coming up with the perfect name is a problem for later – placeholder names are fine.
Designer notes are useful but indulgent. Exercise restraint.
If a big designer note is really that important, it should be part of the text. 
For each section consider whether I’m addressing the player or the GM. Be deliberate and consistent. 
Adjectives, adverbs and repetition are a great way to pad a paragraph out into unreadable fluff. Delete ruthlessly.
No editing partway through a section. I can’t judge information priority and flow until I’ve gotten to the end.
If I’ve finished a bit, move right on to the next bit instead of getting bogged down in re-writes. There’s no prizes for most deleted drafts.
When a section of the draft’s good enough, mark it in a different colour so I can track my progress and know what to leave alone.
Do I really need other people’s feedback? Or am I just avoiding writing by talking about it instead? 
Write what I can, when I can. If I can’t write one part right now, write a different part. If all I can write at the moment is a list of what I want to write, then write that. Try to get some momentum going.
It’s too much to hope that I keep my notes organised, but for all that’s holy keep them in one place.
A proper draft needs at least some sense of how it's going to be laid out or there will be very nasty surprises.
Nevertheless, no draft survives contact with layout.
The best part of the process is when I realise that I've already written all the other bits I need and can just slot them in.​
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unwinthehart · 1 year
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I love reading press first impressions of Sanremo songs, they're always so salty LMAO
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zilabee · 1 year
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Lennon's late again. [...] I'm thinking of getting rid of him.
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I don't even have that much sadness attached to day four; it's drowned out by pure unadulterated irritation. I almost don't even want to write about it because it's just makes me furious.
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The best bits of the day:
- Yoko dancing a little bit to Maxwell
- Adding the old footage and the screaming to them playing around with rock and roll music oh my god beautiful yes perfect well done yes okay good
- Nothings' gonna change my world ("I wish it fucking would")
- George's smile at Mal when he gets his hammer bit right oh god
- When Paul genuinely doesn't know who played that lovely badumbadum in Maxwell and is all flustered by how much he likes it
- When John has his paper over the mic, and someone tells Paul instead of telling John. HEAVEN.
- Paul writing Get Back obviously all of that, but also the others slowly drifting into it, how good it sounds when Ringo falls in.
- When Michael Lindsay Hogg suddenly realises he might actually be breaking the beatles up and quickly suggests leaving them alone to play for a bit and then sending them for something to eat.
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The worst bits of the day:
MLH: I think if we've embarked on the enterprise, which is your decision... after all you're all here... I think we ought to get as much as we can out of it because... Paul: But any other director in the world would say 'Fuck off!' you know. 'Fucking get off my set, you cunt!' You know, wouldn't they? If suddenly in the middle of a thing I was doing, trying to pull together, four people just sort of shout, 'I don't think we want to do it' you'd go 'oh fuck off.' Anybody... I couldn't operate with that. MLH: It's true.
HE IS LITERALLY TELLING YOU WHAT THEY NEED, AND YOU ARE JUST MAKING NOTHING NOISES IN RETURN, YOU ARE A FUCKING NIGHTMARE.
MLfH: I think one of the things about doing the show here is that it's too easy.
OH YES NO OBVIOUSLY. IT WOULD BE AWFUL IF ANY OF THIS WAS TOO EASY.
MLH: I will, every day, say Tripoli...
I HATE YOU
MLH: We all need you. And you know, if you all can't get it together, that's really very sad.
TAKE A SAD SONG AND MAKE IT BETTER MICHAEL, NOT WORSE
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- oh god how stupid and tedious and awful everyone has chosen to be. I hate them.
- (except paul) (but even paul) (but not paul) I know there are other things he could have done here, but he's channelling my irritation so perfectly that I don't find him irritating today. I found him irritating yesterday, but today everyone's being ridiculous and needs to fuck off and he explains that just fine. My teeth ache for him.
- They're all so tangled up and tired and scared, and I feel like I should feel caring and loving about that, but I don't, I'm just frustrated, and want them to pull themselves together.
- I love Paul just telling them straight that he doesn't care enough for how painful they're making it because fucking hell he's not at school any more.
- I love John's incentive for the thing being to beam love at people, it's very beatle. And incentive is something they need and it's a good one, and it would make Brian happy. But !!!! If you're on the side of doing a show and making the thing work, then you have to argue on the side of doing a show and making it work. You have to be part of forcing that to happen. Get involved. Back Paul up. Just be in the roomas ldfkjowiejfo sjdfoijwoe ijfsdf.
- George deciding he doesn't even want to do his songs is the breaking point for me. When suddenly he doesn't even want to do them live because they'll be shit, when just yesterday he was saying how good this whole idea was because it's more real, and when, like Paul says, they're more than CAPABLE of singing a fucking song for fuck's sake flsskjodijflhklsdsslsssssssssssssssssssssssssssssssss. I don't know. I know he's frightened. And I know he has a little ptsd about audiences. And I know he has a lot going on. But at the same time… and I'm a youngest child so I'm allowed to say this: he's the most youngest child of all youngest children I've ever seen and I don't know how anybody coped with him for a whole minute.
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swiftcola · 4 months
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i think editing this shit is gonna fucking kill me
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kyuusei-shadowleaf · 1 year
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The Sky on Another's Wings
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[Photo by Dominik Schröder on Unsplash]
(A 330 word reply to @caedun's 200-word challenge. Cope.)
She felt the wind, but it wasn’t her wings.
Kyuusei had known the stormcrow’s reticence before. She reveled in its wings, but the shape refused to come to her until she truly knew the winds of a place. Until she could feel the kiss of air on her skin and know the updrafts of the plains, the cool breezes from the water, and the currents that howled down from the mountains. Only then would the shape deign to bear her aloft on her wings.
Pandaria, The Broken Isles, Boralus, it had been the same in all places. Her feet, whether two or four, wedded to the ground. Until that time of knowing.
But here, on the Dragon Isles, she had the sky.
The highland drake that carried her high over the Ohn’ahran Plains already knew these winds, was born to them. The wings were not her own, but together, they flew. Roughly at first, the kaldorei and drake each taking time to learn each other’s tells, their foibles. Kyuusei had eschewed a saddle and armor, set on experiencing flight as closely as she could. And now?
She felt the muscles of the drake’s beating wings beneath her legs. Closed her eyes and extended her arms as the wind flowed over them, throwing her leaf-tangled hair behind her. Not her own wings, but the skies nonetheless…
A warning rumble, felt as much as heard, brought the druid back from her reverie as the drake growled a warning. Directly in front of them, the border peaks of the Azure Span neared with frightful speed. Kyuu leaned forward, squeezing her legs and placing hands on the drake’s neck as he took her signal – wingbeats taking them just high enough to slice between two granite outcroppings. Close enough that one wingtip left a furrow in deep mountain snow.
In the clear once more, the drake cast a reproachful eye back at Kyuusei, chiding her with a snort.
“I know. I’m sorry.” She leaned against the drake’s neck, long-fingered hands brushing against dark scales.
“I just got caught up in nowhere…”
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crustaceansingles · 7 months
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He thinks his unfinished business is giving away candy, so it's pretty much a best-case scenario.
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crystalelemental · 6 months
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Did you know that sometimes I write for stuff that isn't Pokemon? Unbelievable, I know. I'm back on MagiRevo. I've been reading the light novels, specifically got through the first three and finally received book 4 today, and listen. Listen. I am well aware that Lainie/Ilia is the canon pair. But Book 2 provided me crumbs, and I am a scavenger at heart, so consider: Lainie/Tilty.
First point! The crumbs in question largely come from how Tilty is presented, and how she acts in Book 2. This is somehow who is effectively a shut-in, does not like to interact with others, and only expresses interest in curses and the occasional Anis shenanigans. This is contrasted immediately when Lainie joins the villa, as Tilty is the one most directly helping get her powers under control, then starts showing up regularly at the villa just to check in on her. For someone who never leaves, and apparently never bothers going to Anis, this feels like a big deal.
Second point! Similarities do exist between their respective histories. Tilty has tremendous magical power that causes her to go wild when she uses it too much, the only solution to which is "never use your magic ever," making her exceedingly bitter about her own life and loss, and being the one most adamant about living for oneself. On the other hand, we have Lainie, whose powers have been a life-long curse that made people either adore her unconditionally, or loathe her based on the perceived slight of her not returning their attentions. Tilty receded into her manor due to her powers, but also out of choice. Lainie wants nothing more than to be left alone, but initially feels duty-bound to do what she can in service of others. Which is why she goes maid route. But like. You see where I'm going with this?
Third point! Okay come on, be honest with me. Tilty's basically the medical expert of the group and is super gloomy and dresses all in black and lives how she wants, while Lainie is a vampire that dresses all in white and is super mild-mannered and feels obligated to give back to people. That's a nice contrast, right? Do you feel what I feel? Are our hearts beating as one?
Probably not. I dunno. This is my first foray into specifically non-canon pairings. No all the Pokemon stuff doesn't really count; nothing is made canon so nothing is hardline unconfirmed either. This is the only time I've gone in defiance of canon for a ship. In what is, admittedly, a fairly small fandom space. I feel like if one person likes this one, I'd consider it well received. I wrote this for me. And that...might show a little. Look, I tend to write my relationships very PG, and while I wouldn't really call this anything serious, I aimed to make their engagement a little spicier than my usual fare. Which is like. "Mild curry made in the northeastern US" level spice, but I am prudish by nature and I have to build up the tolerance. I need you to understand, the first actual pairing fic I wrote where people kissed? I could not let this go while talking about it to my wife. Wife, do you understand? They're going to kiss. On the mouth. No, not with tongue, that is way too much, what do you take me for? I am a particularly repressed victorian maiden, I have to fan myself writing something like this and they're fully clothed. I'm trying my best, okay?
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babyjakes · 1 year
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do you guys actually read your textbooks for your college courses or do you just read the chapter summaries like me 🥲
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mooshymooshroom · 1 year
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golmac · 1 year
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More on workshop
So. I was asked in a reply why I don't like CW workshop. It's a good, reasonable question. I tried to answer, but there's a character limit for replies. I'll try again here, and hopefully I won't get too bogged down in the details.
Before going to grad school, I worked in automobile factories. In manufacturing, processes are the activities that, in total, lead to a desired outcome. A process that consistently leads to desirable results is said to have a high level of quality.
Workshop is a process, just like painting a car door is a process. There is a loose collection of practices or activities that make up the workshop. We're taught about them in pedagogy classes and articles. Mechanically, workshop favors certain types of writing over others. This is a function of what can be quickly and easily articulated in a group setting.
Its stated goal--making poems better--is pretty loaded. A workshop, like any social organism, has persons with more and less privilege, more and less social capital, and so on. What happens when you get a bunch of people together to make art "better?" A teacher has a big role to play in making such spaces equitable, and some have a lot of success, but the question is still fraught IMO.
The upshot of having people from various backgrounds with different aesthetic tastes is that workshops often... I won't call it the lowest common denominator because that's insulting and not quite right, but it is fair to say that workshops push art in the direction of things that everyone agrees on. I mentioned Raymond Carver in my earlier reply because I think he's the prototype of that Iowa Writer's Workshop author. His stories feature things that are aesthetically very solid. Economical prose with specific, evocative imagery. The narrative voice never editorializes. Masculine, verby constructions. This is the kind of writing that workshop privileges. I could use Mary Gaitskill as a more recent example (I love Mary Gaitskill!).
& you know what? There's a good reason for that. Raymond Carver's stories are very, very sound, technically. So people agree. Be more specific. Don't editorialize. It's very good advice, which is why people keep handing it out. It all makes so much sense that it's easy to overlook the fact that good poems and stories don't always comply.
I had a poem that got published in Nimrod, a nice mid-tier journal out of TU. It's about a single mother at her child's funeral. She's explaining to her child (or talking to herself, perhaps) why she didn't call the baby's father. I spent twenty minutes of my life fielding questions about where the father is, and why he and the mother aren't still together, and where they met, and I'm like Jesus, people, this is a sonnet, not a Raymond Carver story. We never talked about technical features of the poem. This was not an unusual experience for me.
That's to say nothing of workshopping poems about mental illness. I felt like I was being dissected, and I'm not shy about discussing my diagnosis.
Ultimately, I just think groups of people are good at evaluating some sorts of art but not others. I also think that's ok, as long as that's understood.
Anecdotally, my writing students all preferred one-on-one conferencing, anyway. By a wide margin. I'm out of that game, now, but if I were teaching Introduction to Creative Writing again I'd do one workshop (because it's an expected competency of the class) and otherwise do conferences. On my evaluations, students said that conferencing made them feel more valued as writers and that the feedback was more useful. And that was my jam.
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zombiedrex · 1 year
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Im not in love with fall out boy I like a few of their songs but recently I've listened to them more and I listened to dance, dance on repeat in the car on this road trip, we went into Walmart to use the bathroom and dance dance was playing on the radio I actually felt like I was going insane and then today in the middle of NOWHERE like literally N-O-W-H-E-R-E sugar, were going down started playing you don't even know how fast I took of my headphones I seriously thought I was going insane again and I WASNT, I even asked my dad about it and I WASNT going insane it WAS fall out boy. Moral of the story, don't listen to fall out boy ever it will stalk you.
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