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ayiig4 minutes ago
once im Out out im gonna start telling nosy cunts who joke about me still wearing my mask that im doing it because im trans. eat shit
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jamesyee7 minutes ago
ANCIENT SECRETS OF THE MONKS | "It's Magnetic By Nature"
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effeminateboyninja7 minutes ago
Thank you for everything!
you鈥檙e welcome?!!! 馃挌馃挌馃挌
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lawyersinaustralia8 minutes ago
Slater and Gordon have a new office located near the centre of Maroochydore for their local Sunshine Coast Lawyers
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authenticcadence189 minutes ago
What advice do you have for someone trying to write a fanfic for the first time?
The best piece of advice I can give is write for yourself. Don鈥檛 write to post, don鈥檛 write to get comments, just write because it鈥檚 something you want to do and because you enjoy it! I鈥檝e found that I have the most fun writing when I do it for me馃槉. Getting caught up in worrying about comments and impressing other people makes it hard to write at all, to be honest馃槄. Just remember why you want to write fic. If it鈥檚 to impress other people, maybe take a step back and try to rediscover what makes you love the source material馃挄. (I speak from personal experience here馃槄馃槄馃槄)
I鈥檇 also say, don鈥檛 be too hard on yourself! If a phrase doesn鈥檛 come out the way you want, don鈥檛 sweat it! Just leave yourself a note that says something like 鈥(i want to word this better, I鈥檒l get there!)鈥 and come back to it when inspiration strikes!
I also find it helpful to just write out ideas. If you鈥檝e got a whole story in your head but don鈥檛 know where to begin, you can always write out what happens before you actually write the thing. AND it鈥檚 perfectly fine to write scenes out of order! I did that a lot with my big multichap.
Good luck with your fic!!!!! 馃槉馃槉馃槉馃槉
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aplaceforthesoul10 minutes ago
Anonymous submitted:
Seems a bit silly really but my fianc茅 has this friend who he plays sports with a lot and works with and sometimes when we all go for a drink, the friend comes out with something like 鈥榤e and ...(my fianc茅) saw this hot girl whilst playing this sport today鈥 and then my fianc茅 doesn鈥檛 comment or whatever and his friend makes a big deal about him being quiet. And I wonder well, what if my fianc茅 did make a comment about her being hot too and is just staying quiet because obviously he鈥檚 with me and doesn鈥檛 want to make a big deal. I get maybe some people in relationships might still look at people and be attracted but never see them again. It just weighs on my mind because it鈥檚 happened enough times now for me to pick up on it.
People do notice other people. That鈥檚 a fact. You don鈥檛 stop noticing just because you鈥檙e in a relationship and he might say yeah that person is hot. I鈥檝e been guilty of it myself - I鈥檝e even commented on how hot other people are in conversations with people I鈥檝e been dating. That doesn鈥檛 mean that I or he had/has any intention of acting on that attraction. But at the end of the day, you need to talk to him about how this is making you feel. It seems to me that his friend is just a shit stirrer and he knows that it bothers you when he says stuff like that. If it鈥檚 bothering you to the extent that it鈥檚 weighing on you, you need to be clear with the person you鈥檙e dating about what your boundaries are and what upsets you. Best of luck.
- Bonnie
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sara-tells-stories13 minutes ago
Viewpoint and Voice, Part 4
Third Person Limited Narration: Under Observation
Probably the most common narrative viewpoint, third person limited narration puts the viewpoint character under a microscope, reporting on the things that they say or do in the course of the story. This viewpoint allows for audiences to draw their own conclusions about the situations that the characters encounter, as well as the characters themselves.
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Reasons you might want to use it:
It allows you to separate your narrator from your main character. There are a number of reasons why this might be desirable in various circumstances: you鈥檙e deliberately writing an off-putting character (such as a villain or antihero) and you don鈥檛 want to alienate readers by making them live in that character鈥檚 head for the whole book; you want to exploit the difference in narrative tone and viewpoint character鈥檚 personality for dramatic or comedic effect (pairing, say, a dour character with a humorous narrator, or vice versa); you want to make extensive use of dramatic irony (where your audience has knowledge that your characters don鈥檛); etc.
It allows you to provide explanations that your audience would have no other way to obtain. This is especially important for those writing fiction in a speculative genre such as science fiction, fantasy, or horror, since the world building elements inherent to those types of pieces are only sometimes things that the viewpoint character is encountering/learning about for the first time during the course of the story, and storytellers naturally spend less time elaborating on familiar elements. This same logic of 鈥渕ore familiar = less description鈥 applies to all forms of writing, however, in the sense that familiar people and locations actually need less description from a first person viewpoint than most authors typically give them (at least if realism is the goal). With a third person narrator, these elements can be dropped in naturally, since it鈥檚 a baseline assumption that the audience doesn鈥檛 necessarily have any information even though the character does, unless it鈥檚 information that exists in our real world as well (for instance, you鈥檙e referencing a well-known artist or politician for some reason).
It鈥檚 close to the action, but retains enough distance to report accurately in situations where the character would not be able to. High-stakes action sequences, for instance, or other intensely emotional situations tend to be places where our higher cognitive functions shut down and our ability to both observe and report accurately decreases in the interest of reacting quickly for survival purposes. If you鈥檙e writing something with a lot of very intense elements, a third person narrator allows you to convey that at a much higher level without sacrificing realism, while still remaining close enough to a character that the audience is invested in to provide the stakes that make such scenes exciting.
Reasons you might want to avoid it:
It can lack personality. It鈥檚 very easy to get into 鈥渞eporter mode鈥 with third person narration, and just relay the major actions as they occur. There鈥檚 nothing inherently wrong with this, but it can be a little dry for some readers.
On the other hand, it can have too much personality and become distracting from the main action. It鈥檚 a really fine tightrope walk between too much and too little, and, honestly, there is no magic answer that applies in 100% of cases. Sometimes, a story needs a distracting narrator to help inject some levity into what would otherwise be an endless grim!dark slog; sometimes, you need a serious narrator to really underscore the importance of what is taking place in a scene, etc. With third person narration, you can be as harmonious or discordant as you want purely for effect, whereas with first person narration you鈥檙e much more limited by what an appropriate response from the character would be. Both have their advantages and disadvantages.
It requires you to be very clear about what is happening in any given situation. Look, we鈥檝e all been there: sometimes you don鈥檛 know exactly how your main character gets out of a jam, you just know that they have to. Or you know how it happens, but it would be really boring to write and probably pretty tedious to read, so you just want to hand-wave it away. This is possible to do (judiciously) with a first person narrator if the viewpoint character鈥檚 back is turned, or they lose consciousness and have to be brought up to speed, or they are otherwise focused elsewhere at the critical moment. With a third person viewpoint, you don鈥檛 have quite the same wiggle room.
The temptation to switch viewpoint characters for any reason at all is a lot stronger. With first person narration, unless you鈥檙e actively writing with multiple narrators, you鈥檙e stuck in that one person鈥檚 head the whole way through. With third person limited, that鈥檚 not true, but the trade-off is that you need a reason to justify each viewpoint switch, and you still need to limit yourself to one viewpoint character per scene (in contrast with third person omniscient, which we鈥檒l cover next time).
It鈥檚 more difficult to obfuscate information (for instance, to preserve a twist) without your readers feeling lied to. There鈥檚 often a reader assumption of total veracity with a third person narrator, especially if said narrator doesn鈥檛 really have a 鈥減ersonality鈥 of their own. Holding information back can lead to reveals feeling deceptive; it takes a much more skillful hand to lay the clues out in full view so that they鈥檙e apparent in hindsight without giving the whole game away when using a third person narrator.
Points to consider to optimize its use:
Which character are we following? Why? As with any viewpoint character, it鈥檚 important to know why this one. Common reasons include: they鈥檙e the main character, they鈥檙e a close sidekick to the main character, they鈥檙e another major character that鈥檚 involved in most of the major action. It鈥檚 less essential with third person narration to have the character involved in everything than with a first person narrator, but if they鈥檙e constantly missing out on the action (and you aren鈥檛 writing an ironic/humorous/parody piece that revolves around precisely that fact), consider why it鈥檚 so important for them to be the viewpoint character in the first place.
What does the audience need to know that the character couldn鈥檛 or wouldn鈥檛 tell them if this was first person? With a third person narrator, you can be much more direct about things like the appearances of your viewpoint character鈥檚 close friends and family, the descriptions of well-known locations, the details of common in-universe technology/magic that our world doesn鈥檛 share, and the names and other salient details about newly introduced characters/items/events/etc. Be careful, however, not to let these information dumps get unwieldy, which is a common temptation with third person narration. For instance, very rarely do your readers care about the exact description of a character from head-to-toe. A general rule of thumb, regardless of narrative viewpoint, is to focus most of your descriptions on the things that are plot relevant and the things which are psychologically/emotionally important to the character describing them, especially if they are things that are likely to be incorrectly assumed unless directly specified. (You鈥檒l note that hair and eye color are generally unlikely to be either, unless tied into specific social dynamics like family resemblance or the character鈥檚 ability to blend into a crowd. Identity markers like ethnicity, nationality, native language/dialect/accent, and religion, on the other hand, are very likely to be at least one if not both, when you are writing with a diverse cast.)
What does the narrator know that the character doesn鈥檛 (if anything)? Dramatic irony is a unique strength of third person narration, both limited and omniscient. The fact that the narrator can explicitly tell the audience something while also making it clear that the viewpoint character has no idea can be used to increase the emotional stakes of any scene. Most of your audience members are already looking for clues of what鈥檚 coming; being able to point it out to them engages them on a level beyond the story itself. Horror, in particular, makes a lot of use of this: consider all the jokes that circulate about 鈥渉ow to survive a horror movie鈥 and how it鈥檚 a giant cultural joke at this point that the characters always split up, run into the woods, and decide to hide in the basement like a bunch of idiots. The question isn鈥檛 whether there鈥檚 a killer, it鈥檚 how is the killer going to get these characters? Similarly, 鈥淗ave you never seen a sci-fi movie?鈥 is one of the first things I often say when stumbling across news headlines like 鈥淪cientists are teaching robots to say 鈥榥o鈥 to commands. Is that a good thing?鈥 We have a lot of instances where we as storytellers absolutely have information that the characters don鈥檛, and we know perfectly well that our readers probably share that knowledge. Exploiting that knowledge skillfully can really increase the payoff of your scenes.
Is there a reason for any gaps in knowledge between the character, the audience, and the narrator? If there鈥檚 no reason, then either the information gap doesn鈥檛 need to exist, or you鈥檙e missing a golden opportunity.
Using Third Person (Limited) Narration: Mind-Reading is Rude
Third person narration inherently offers many more options to a writer. You get to decide which character(s) to focus on and when, just like with the other forms of narration, but you also get to decide how much to let the audience in to that character鈥檚 internal world.
It is entirely possible to write third person narration in such a way that you only relay the major events and dialogue, and otherwise avoid commenting on the character鈥檚 thoughts and feelings. Note that this doesn鈥檛 mean that information about those thoughts and feelings is not conveyed at all - rather it means that you鈥檒l need to find ways of having your character display them, such as through physical actions and specific word choices. Sometimes this type of writing can be more effective in conveying emotional information than simply telling the audience something - think of how, in real life, it鈥檚 much more impactful to see or hear someone start crying than for them to merely say that they鈥檙e feeling sad - but it does require a higher level of skill and attention to detail in order to achieve the desired effects.
Similarly, it鈥檚 entirely possible to write in what I鈥檝e recently seen referred to as deep third person, where the character鈥檚 thoughts and feelings take on central importance. This style of writing is a lot like first person, just using different pronouns. It weaves together the usual third person report-style method of sharing the actions and dialogue with commentary that the audience understands to be the internal monologue of the character. This can be a really effective compromise viewpoint for a writer who wants the audience to identify with a third-person viewpoint the way that they would with a first-person viewpoint, but who otherwise wants to preserve the assumed veracity and information-conveying abilities of the third-person viewpoint.
One of the keys of effective third-person limited viewpoint, however, is that it is restricted to the viewpoint character. Resist the urge to have the narration comment on what other characters may be thinking or feeling. You can have the viewpoint character speculate on this if you鈥檙e using a deeper third-person perspective, but you cannot - unless your viewpoint character is meant to be telepathic - directly tell the audience why another character is doing something without breaking the very mechanism that makes this viewpoint such a solid go-to choice.
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jjongslight16 minutes ago
Okay Idea feels like the precursor to Advice idk how to put it really but in terms of general sound, mixing, intensity and storytelling they kinda feel like a duology
And then if i go back a bit further Holy Water is their ancestor
Am i making sense??
Hm. I don't know about the sound and mixing (I really have a problem with the mixing of IDEA towards the end of the song, the arrangement they added in the lives should've been the official audio, but I digress). But yes, they鈥檙e both very intense!!
I totally see where you are coming from with how they can be taken together as a two-parter. If with IDEA he's confronting and rearranging the dualities, pre-conceived notions and shadows that are within him to free himself and become his own ''IDEA'' then with Advice he is presenting that fully formed ''IDEA'' and telling the world that no matter what they have to say about it, this creation of himself will keep being shaped, molded and perfected by him only and on his terms.
He is the sculptor of his own statue, he is the creator of his own silhouette, he is the owner of his own identity. The possibilities are infinite if he is in control of his own narrative. He can be the one to save himself from whatever kept him captive before and prevented him from free expression. So yeah IDEA does seem to create a trail to Advice.
That's why I don't get people who are shocked by Advice when he's been bringing us all one step at a time towards it.
About Holy Water, which tbh, I think I had never heard before (that's the issue with me hyperfixating, I neglect stuff and never come back to them), but I see what you're talking about and it just makes me go back to Taemin's overarching theme of trying to find salvation from his inner turmoil. And it seems like in this song and others, he would try to look for it outside of himself, in something bigger than himself, but in his most recent releases, his quest for salvation seems to have turned inwards. He has decided to become his own messiah,聽to find his own sense of self and to ultimately find - freedom and peace.
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sims4-vampiric-council17 minutes ago
Sorry for the serious lack of productivity here. I鈥檝e been trying to learn code to make more complicated mods, but it鈥檚 difficult to do on my own and I鈥檓 still working on rebuilding the mods I lost months ago, which is most of them. Sadly. I will try to have something posted this week, though I can鈥檛 promise. I鈥檝e been meaning to update you all for a while and I鈥檓 so sorry it took me so long.
But the important thing is, I鈥檓 determined to figure all this coding stuff out and I am determined to at least get some traits out in the meantime.聽聽
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howtofightwrite32 minutes ago
Q&A: The One Armed Bodyguard's Greatest Foe: Doors
I have a character who is a skilled warrior (guard for the royal family鈥檚 children) and was born without their left arm. They mostly fight unarmed, however, I don鈥檛 think that would be super effective against someone with a sword. Are there weapons that someone could use efficiently with one arm?
鈥 december-rains
鈥淭hey mostly fight unarmed?鈥 I think I see what you did there.
You鈥檙e correct that an unarmed fighter would be at a significant disadvantage when going up against someone armed with a sword, or anyone with an extra arm they can use to strike with while parrying an incoming blow.
The hard thing with questions like this stems from a misunderstanding about combat. Combat isn鈥檛 about being, 鈥済ood enough,鈥 it鈥檚 about leveraging any advantage over your foe.
A sword vastly increases one鈥檚 reach and lethality. As we鈥檝e mentioned before, reach is an incredibly important part of combat, but is frequently overlooked in entertainment. If someone can kill you at a distance where you cannot respond, you have no path to victory.
You鈥檝e heard the clich茅 of bringing a knife to a gunfight, and that鈥檚 because of range. The problem is, while it鈥檚 a less extreme example, bringing a fist to a swordfight will be just as suicidal.
So, what weapons can someone use effectively with one hand? Well the sword comes to mind immediately. Most swords are usable one handed, even the large two handers, such as the zweihander or claymore. The two-handers will be more awkward in a single hand, but they are usable.
Competitive fencing is no stranger to one armed duelists. Particularly with weapons like the rapier or foil, your off-hand is primarily used for balance, and a one-armed fighter, who can adjust to their lack of an arm, is not at any real disadvantage.
In fact, loss of the non-dominant arm in fencing is not enough to make someone eligible for the Paralympics. As far as Olympic and Paralympic rules are concerned, a one armed fencer is not considered disabled. There are even a few very successful examples, such as the elusive Al Snyder, who was the 1944 US National Foil Champion. From what I can understand, he lost his right arm to a shotgun blast as a child, and took up fencing in college (at Stanford) with an exceptional competitive record.
It鈥檚 been less than two months since we last mentioned G枚tz von Berlichingen, but if we鈥檙e on the topic of one armed soldiers, he is an important example.
If all of this sounds unusually positive, I do have an issue, and it鈥檚 a big one.
鈥(guard for the royal family鈥檚 children)鈥
I have absolutely no problem seeing someone like this as a swordmaster or master at arms. I could see someone like this training members of the royal family in the use of the sword. Possibly even see them as the commander of the palace guard. It would depend on personal history, but these are all (conditionally) plausible.
As a minor nitpick, I think it鈥檚 more plausible if they lost their arm in combat, rather than as a congenital defect, simply because that would smooth the line for how they got into their position. It makes a lot of sense for a member of the royal family to keep someone around who鈥檚 been their trusted personal guard for the last 30 years, and lost an arm defending against a failed coup a decade back, while moving them into a position where they鈥檙e still as valuable. It makes less sense for the master of the guard to look at a one armed kid who wants to sign up, and say, 鈥測eah, we鈥檒l take you.鈥
The problem is the job itself. It鈥檚 not that I don鈥檛 think the character can fight. It鈥檚 that I know they cannot open a door behind them while keeping their weapon trained on the assassin who just burst through the window.
That may sound petty, but it鈥檚 the tip of an iceberg. You have a character who cannot use their off hand to take any action while they have their weapon drawn. (Because the off-hand doesn鈥檛 exist.)
The example above is one of the more glaring issues: They cannot open a door or operate any machinery without putting away their weapon. In a situation where seconds matter, that could easily be fatal for the children. Relying on the children to keep their cool during a crisis is an incredible gamble.
Similarly, when faced with an opponent armed with a shield or parrying dagger, they are in extreme jeopardy. If their strike is blocked or deflected, they have no defense against a riposte. This is not a consideration in fencing, because, in a sport environment, competitors have standardized equipment, and rules designed to ensure a fair match. None of this is true when your character is in an actual battle (or fending off assassins.)
Now, if the question is, do I think a sufficiently hardened one-armed swordfighter could safely dispatch a four limbed assailant? Yeah. Absolutely. However, assigning them as the personal bodyguard (no matter how good they are) would be irresponsible for several reasons.
First, that door example means they can鈥檛 evacuate the children from a dangerous situation without dropping their guard. This is more universal than the specifics would suggest.
Similarly, they can鈥檛 carry an injured child to safety and open doors on the way. Realistically, that鈥檚 a much more pressing concern. It鈥檚 unlikely that the royal children are presented with attempts on their life on a regular basis. However, the risk that one of the kids is injured by鈥 anything, and incapacitated is a real danger.
Those kids are not just kids. In a, hereditary monarchy, they are simultaneously, and incredibly valuable diplomatic resource, and the continuity of government. Only giving them a single guard collectively, no matter how many limbs they have, is extremely concerning.
Again, I could see a one-armed veteran guard acting as the head of their security detail, but that would be talking about your character having a squad of guards at their command, not simply being, 鈥渢heir personal guard.鈥 Particularly, if your one-armed character is (almost) always accompanied by a subordinate.
So, what could the use? A sword. But, that鈥檚 not the biggest issue here.
This blog is supported through Patreon. If you enjoy our content, please consider becoming a聽Patron.聽Every contribution helps keep us online, and writing. If you already are a Patron, thank you, and come join us on Discord.
Q&A: The One Armed Bodyguard鈥檚 Greatest Foe: Doors was originally published on How to Fight Write.
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stormblessed9540 minutes ago
The things Jimin said on Weverse are so comforting. Not only that. He made sure to use simple words so us international Army would get the right translation from Weverse instead of having to look it up somewhere else. Jimin is comfort in person. He's so precious, sometimes I can't even believe he's real. I'm so thankful that we have him. And that's why I absolutely don't understand how people could ever hate on him when he spreads nothing but love for us.
He is literally an angel, our prince. Comfort personified. I always listen to promise whenever I'm having a bad day.
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He commented in a textbook like manner so it was easier for the bot translator for international ARMYs and just spread all his love around. My favorite was him telling the ARMY not worry about illegally streaming and that they all still love her. Lol he really is the best 馃挏
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historyandheartbreak43 minutes ago
I used to think love was stolen glances, skipped heartbeats, die-if-he-doesn鈥檛-text-back, breathless, and all-consuming.
You鈥檝e redefined what love is to me.
Love is holding hands in the grocery store. Love is you walking on the outside of the sidewalk because you don鈥檛 want me close to the cars. Love is scratching your back to help you fall asleep first.
Love is watching you make blueberry pancakes. Love is letting you pick the movie. Love is playing sports and laughing until we collapse.
Love is peaceful. Love is joy. Love is all the little things.
Love is discovering that a person鈥檚 flaws can be some of the most endearing things about them.
Love is the way I feel when you look at me.
Love is beautiful. Love is safe. Love, to me, is you.
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raccoon-egirl46 minutes ago
for those of you listening to the Dylan James affirmation tapes!!!
if u don鈥檛 already know, there is an app called Musi where you can download youtube videos and listen to them while you鈥檙e on other apps! that way you can close your phone and it will play overnight without your phone overheating or stopping!!!!
i鈥檝e seen some ppl expressing this concern so i thought i鈥檇 help y鈥檃ll out!
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love-advice-on-call52 minutes ago
i have been 鈥渇riends鈥 with this boy since 6th grade. we met through a mutual friend and just started talking and immediately there was something there. from there it was always friends but something more because there was always this tension between us. there were times where we had a temporary thing but something always got in the way. i was always there for him no matter how many times it didn鈥檛 work out or the position we were in. so like basically it鈥檚 been 鈥榬ight place, wrong time鈥 ??
soon i had to move somewhere else and that out more of a strain. though one day he reached out to me and basically confessed his feelings and spilled out everything. from there we had this thing going on until it kinda fell out of place. we both 鈥榙ecided鈥 that it was better to stop talking and start off as friends again. but we have been just friends for so long and its just hurting now. it also doesn鈥檛 help that we鈥檙e going to different schools really far away and i don鈥檛 know if i can watch him find someone else while i鈥檓 still in love with him. how can i get over it??
Sorry for the delay on a response, I've been busy moving (still in the process)
Anyways, so there are 2 options you can do. For one, you can literally get over it and accept that you two will not be dating in the future and accept that as fate. Be happy for him when he finds someone new and be supportive of that genuinely. Now option 1 takes a lot of growing and acceptance, and it will almost always feel hard/weird at first when they do find someone, but it is possible.
Option 2, you forget about him and move on with your life. If you can't be friends with him and watch him date other people (which is totally valid and very common), then you need to move on because this is hurting you. You guys had a moment and now you're far away so maybe its time to start the next phase of your life.
Posted June 14, 2021
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lesbiau58 minutes ago
started thinking ab my hernia and lo u get symptoms brains r fuckin stupid
#hiatal hernia#look im going to physio tomorrow anyway for my shoulder#n i wanted to see if he could help me with my becoming auper fit again#bc idk if my core is in the right place for some exercises bc my hypermobility and i get like#stomach wind feom exercises and i just wanna make sure im doing moves right#i was hyper fit before i knew i had this and i just got mild symptoms#but like thinking of how to say it and thinking ab it like i can feel it and i get this awkward chest feeling#n im nervous ab talking to him bc half the med community seem to think u have a hernia u cant exercise at all#or u cant do anything vigorous i mean#and i just dont want him to relegate me to walking forever#bc i know i can so more but its almost knowing ab it and my anxiety ab it makes it worse#bc i know i had it when i worked out all the time before#i just wanna get pro help to build up my core so i dont feel paranoid that im like ripping my chest open when i tense my core to work out#its hard to explain im aware its the least relatable thing ever to some people to like LOVE exercise vut i rly do#and i was so fit before and i just dont feel like myself at all#especially aince i hurt my shoulder and slowed down my getting back into it#just going to physio anyway it feels like im meant to ask and its something i should get some advice on yaknow#just please please dont tell me ill never lift weights again like buddy I wasn't even lifting heavy before i lifted light just a lit yaknow#its a totally different tension#just tell me if im posturally doing core work like a normal person even though all my joints wanna be hyperextended#so i can work out the right way#this is so dumb but ill just be crushed if i have to hear this again like#if u read this far im slipping u tongue rn i just needed to vent i cant wait to be buff again ill litrally carry u over the threshold#鉂わ笍鉂わ笍鉂わ笍
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strawbeariefaerie59 minutes ago
Hello, I don鈥檛 know how this question is going to come off but how do you stay so unproblematic? I鈥檓 sorry if this question is off but I had a very bad fight with my online friend. I really don鈥檛 know how to handle this because we are so close and I鈥檓 beginning to question some other so called 鈥渇riends鈥 because they don鈥檛 ever give me as much as I give them. I鈥檓 sorry.
this question isn鈥檛 really off don鈥檛 you worry. i鈥檝e had the unfortunate experience with dealing with trashy internet friends and having to depart with some evacuee they didn鈥檛 meet up with my morals. i鈥檓 a person who keeps my dignity and my principles wherever I go and that applies with friends as well. if anyone doesn鈥檛 match my standards or doesn鈥檛 even carry a ounce of morality I keep away from them.
it鈥檚 all about paving a way for you to enjoy yourself and saving your peace from future heartbreaks. to keep your time on here harmonious and not mope over shitty people that didn鈥檛 even deserve your presence or chance of conversation. so think about the fight you had over your friend, you can try to find a resolution with them if they want to resolve but if they don鈥檛 just save your peace and break it off with them.
as for your other 鈥渇riends鈥 I suggest that you keep your distance. we all have busy lives and have schedules and responsibilities that keep us from interaction. although if you genuinely think that they are purposely not reciprocating your energy (or not giving you the amount of mutual support you鈥檇 like to receive) than do what I suggest, distance yourself and interact with people that do make you happy.
hell, you can always unfollow them so you don鈥檛 even see them on the dash. it always works for me when I have bad gut feelings about people or want nothing to do with people that don鈥檛 even consider me as a friend unless they want something from me.
you don鈥檛 gotta apologize, I hope this makes sense and always know that this app can be overwhelming. it鈥檚 alright to step back and focus on the present away front he screen. love you cherub.
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journeysfablean hour ago
Can someone give me life advice?
So like I have a bunch of assignments to work on and my mom just tells me to聽鈥渄o what I can鈥 but that鈥檚 so vague cause I can do a lot I鈥檓 just not sure how much of it will be worth my time. Is it worth it to do these Spanish assignments that took me a weirdly long time to complete or will the quizzes be enough? Is it聽 worth it to do all my biology assignments? I just don鈥檛 know.
I鈥檝e already done a lot of them.
I have to turn in my chromebook tomorrow or the day after.
I don鈥檛 know what鈥檚 worth my time. I don鈥檛 know what to do.
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drkruinsan hour ago
TW ; transphobia, homophobia, forcing religion ( Christianity ) onto others. Be aware, slurs. this may trigger you.
Hello, I鈥檓 currently 12 years old ftm ( has never read ANY of your fics out of respect ) but the only reason I鈥檓 here is to ask you ways to hide being trans. My entire family is Christian / homophobic and I鈥檓 pretty sure I鈥檓 the only lgbtq+ person in the entire family. I need ways I can look / do masculine things without being called out for it / exposed by my family.
i'm not the best at this but,,
you can use sports bras to bind and wear oversized clothes. if they ask about it, just say you're more comfortable when you dress like that.
if you can't cut your hair in a "masc" way just do it shoulder length or maybe a mullet since those aren't stereotypical "masc" hairstyles. if neither of those things are possible just put your hair up and wear a beanie
if you wear dark clothes bc it can hide your hips.( i don't suggest wearing skinny jeans or whatever since it'll just show your femininity but that's just a thing i do so you don't have to)
use men's deodorant and you can just say it's nicer
you can try to sit manspread as well??
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neverendingwritingan hour ago
Part Ten- The List
The man that is staying with us is of a higher caliber from looks alone. His hair is always done and his eyes are sharp. I have not spoken to him since he came to our home. I suppose now I have no choice. He has not eaten in days. I feel it is my responsibility to feed him. He is staying in a room far separated so as to set Lila鈥檚 mind at ease. I approach the door and knock sharply and wait. I wait for three minutes. It is too late for him to still be asleep. I announce that I will be coming in. I open the door. There is a smell unlike any that I have ever smelled before. It makes me sick. I manage to make it to the bathroom. I do not want to go back to his room, but it seems I have no choice. There is a rag in the kitchen that I grab on my way to the room. I stuff my nose into it and shove the door open once more. I am acutely aware of the rag鈥檚 inability to stop the worst of the smell, but I have no choice now.
I step inside. Nothing appears out of the ordinary except for the stench, but for now I fling it from my mind. I have no choice. The man is not here. He is not in the bedroom at least. I open the bathroom door. I turn around and vomit once more. I am afraid to turn back around. He was hanging there not like a man, but like a stone. It looked like the rope was from an old cartoon, where each end is frayed, trying to break against his weight. It looked like he was trying to claw free. I do not want to look again. But I don鈥檛 know what to do. I couldn鈥檛 show Lila. This was not a scar she needed. So I opened the window. The air leaked in. I went to the house across the street. They scoffed at me, called me a liar, but walked over anyways because they were interested in my claims. They stared at the body, gave a little giggle, and then helped me pull it down. There was a bin down the block that we put him in. The neighbor walks back to their house shaking their head. I don鈥檛 know why he was that way. He seemed to be mocking me. I don鈥檛 like it.
By the time Lila got home from wherever she had been, nothing was wrong. Well, almost nothing was wrong. I had scrubbed the bathroom head to toe with bleach, hoping the stench would be masked by something at least stronger. It worked for the most part. I tried to do the same thing with my brain. I closed my eyes as tight as I could and pressed my palms as deep as I could into my sockets. I watched as the mandalas formed beneath my eyelids and they danced and sung to me. I could not see while they danced. When I opened my eyes again, the world appeared slowly. First the sink and the rags that blinded me with their light tones and then the light and the mirror and myself staring back. He was still there, another body added to the list of those partially remembered and never known.
I didn鈥檛 know what to tell her. I walked down to the kitchen where she sat drinking something. It smelled strong.
鈥淲here have you been darling?鈥
鈥淚 went to run some errands.鈥 She smiled a quiet smile to herself. I felt like I was intruding on something by being privy to its quirks.
鈥淥h, did you buy me anything special?鈥 I gave her an extravagant smirk so she would know I was joking. I never wanted to think I expected anything from her. Even still, she closed her hand into a fist. I don鈥檛 know why she did that. She didn鈥檛 seem angry.
鈥淣ot today. Get me some food would ya.鈥 Tonight was my night. I had forgotten.
鈥淏efore I start cooking---鈥
鈥淵ou haven鈥檛 even made anything yet?鈥
鈥淣o, I have something we need to talk about.鈥 She was suspicious of my words. As if I had given her some reason to doubt my honesty and reliability.
鈥淥kay, what is it?鈥
鈥淭hat man鈥 the one staying in the guest room, I found him hanging in the bathroom today.鈥 She giggled a little bit. I鈥檓 not very sure why.
鈥淥kay did you get rid of it?鈥
鈥淕ood. D鈥檡a need me to make dinner for us tonight, then?鈥
鈥淚 got it. Don鈥檛 worry. You can sit and watch things or whatever pleases you.鈥
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