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mimimar · 1 year

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gorgeouslypink · 10 months

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The Illusion of Method (My AP "Guide")

Hey guys! I'm so sorry that I've been behind on finishing up my masterlist but I've been really busy. I was having a conversation with my friend @junfairykyu and I remembered this post and she said it really helped her and urged me to share it with you guys too! This post is to help people AP (astral project) but the same concepts apply for the void. I hope this helps everyone.

original link: here

Hello there,

In this post I want to share an epiphany I had a few months ago regarding astral projection which changed my approach to it completely. Once I understood what I am about to explain, the amount of OBEs I had completely skyrocketed, to the point I can astral project on demand. I later found I could apply the same rule to lucid dreaming, and I started to enjoy countless conscious dreams. So this is the story of how I got to the "core aspect" of astral projection, the key to induce it effortlessly on demand. I will start by explaining the conditions whereby I came to this "truth" or "top method", and then I will develop it a bit more to ensure that its understandable. I I hope you guys enjoy the post and benefit from it. That being said, let's start!

I have been having OBEs for a few years now. A few years in which I tried many astral projection techniques, and while some of them seemed to work better than others, I always had one single desire that obsessed me to the core: I wanted to understand what was the root technique, i.e. that background cause, shared by all fruitful OBE strategies, that actually separated consciousness from the body. You know, the skeleton of all techniques. It was the deepest of my fixations, and I was compelled to find out the answer to that, I knew there was a core method, it was undeniable: if many different techniques lead to the same results, then there was for sure some hidden and shared dynamic that, if emulated over and over again, it would always produce Out of body experiences.

But it was really hard at first to understand what this hidden method was, because I was conditioned by my own results. What do I mean by this? Well, if only one technique worked for me, then it would be easy to assume "oh, that's the true and only method". But I had successful results with a wide variety of techniques, so different from each other: from tactile visualization, up to affirmations and pure desire, the ear ringing technique (using the ear buzzing sound to project) , the WBTB and many others. The challenge was in finding the single thing that united such different techniques. It seemed almost impossible!

You see, at first I thought imagination was a core aspect, but I rapidly discarded that, because many techniques dispensed with imagination. So then, imagination wasn't necessary. I kept discarding things just like that, trying to reach the substratum. I eventually thought it was pure intention, pure desire. This made sense to some extent, because all techniques required you to think actively about projection, whether you do this by imagining you project, or state it via affirmations, or whatever. It seemed like I succeeded with stripping away everything unnecessary. But then I had an spontaneous projection, which messed it all up. Not that it was the first spontaneous OBE in my life. In fact, I had a few of those during my career as an astral traveller. I was just ignoring them. Pretending that they were not there. Right when i thought astral projection had to do with a burning desire or intention, I realized that some OBEs dispensed with intention completely.

I was so obsessed with finding the key to astral projection in those OBEs I induced myself, that I was screening out those that happened involuntarily. I don't know why, but I guess it made more sense to find the how-to in the techniques rather than in...and then my mind went silent. I reached something important: a point of no-return. I realized something embarrassing: I had the answer in front of my eyes, but I kept pretending there was a hidden solution. But via spontaneous projections, the message was clear: it is not that those "spontaneous" projections weren't induced by me. NONE of my projections were induced by me! Its almost as if my unconscious was trying to tell me, via spontaneous projections, something like; "hey! its me who does it, not you".

At that point I understood the following: there is no method. We can't induce out-of-body experiences, nor lucid awareness in a dream. We don't really know how it is that the projection of consciousness occurs, or how lucidity pops up. We just get to experience it under certain conditions. All we do, really, is asking for projections to occur, while meeting the most optimal conditions for them to occur. That's the reason why spontaneous projections are kinda unconfortable for many and we try to screen them out, because they are trying to tell us about the illusion of method, and we as humans need to cling on a certain "how to", believing we are responsible for phenomena to occur. But we aren't. It is "something else" (the unconscious, the higher self, or whatever you want to call it) who kicks you out of your body, or triggers lucidity while dreaming. And when it occurs naturally, we try to understand how we did it, instead of realizing it isn't something we did, and thus opening ourselves to that same gift.

When I understood that, I began to do the following (the "no-method" method), and it ALWAYS works: I just lie down in the morning (to ensure that I don't fall asleep), close my eyes and simply ask this "unconscious" or whatever it is, to induce an OBE for me. And then I evoke this feeling of TRUST. I trust him, I trust that it will do the rest for me, because I understand that every time my consciousness escapes my body, it is this kind of higher consciousness or being who does it, not me. And this feeling of trust is the way to get rid of responsibility; in giving away this need for control and responsibility for the experience to occur, you also get rid of anxiety, fear and other emotions that boycott the outcome. So then, i just allow myself to drift with that feeling of peace, KNOWING that it will happen and I don't have to worry about it. Every time I do this, I get an amazing out of body experience. I just ask "the universe" to induce an OBE, and allow it to do its job. This same "method" (now you see why I refer to it as the illusion of method: you really don't do a thing) also applies to lucid dreaming: I just allow my higher self or unconscious mind or whatever to trigger lucid awareness for me, and go to sleep happily, knowing that it will happen.

To sum up, the answer is not in the techniques. All techniques are rituals we create to convince ourselves that we are the architects of the out of body experience, but we aren't. By acknowledging the one who DOES induce these kind of experiences, we get ourselves out of its way, we allow it to do its job and our emotions and feeling of responsibility no longer boycott the results. It is quite weird, even ironic to some extent, but it is also a relief in some way. You realize that you were never doing it wrong, because you can't do it. None of us have the supernatural power to separate consciousnesses from their bodies, its absurd. That being said, allow yourself to experience the OBE state, trusting your inner mind, knowing it will do this for you.

Exempt yourself from this responsibility and enjoy!

UPDATE: If you enjoyed the approach given in this post or found it useful, I am excited to announce that I just released an AP book on Amazon called "The Illusion of Method", which is an in-depth expansion of this guide: https://www.reddit.com/r/AstralProjection/comments/pc3ipt/my_ap_book_the_illusion_of_method_is_available_on/?utm_medium=android_app&utm_source=share

#void state

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space-blue · 10 months

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Not that many care about my opinion on the topic, but I cannot comprehend the takes I've seen on Oppenheimer prior to viewing the film.

I'm just out of the cinema and I cannooooot believe that I've heard and seen people complain about the "Americans clapping" scene as not sensitive, and that it should have shown the bombs dropped and the damage done. I've read takes that came down to 'the film is PRAISING the bomb by refusing to show its damage' and holy shit I was bracing myself.

But not only is the clapping scene shot like the genre just switched to horror, plunging us into very interesting exploration of the mental dissonance Oppenheimer is going through at that moment... I was left wondering...

Have those critics not seen Grave of the Fireflies? Barefoot Gen? In This Corner of the World? Watched documentaries on the bombs, on hibakushas? Have they not read the Hiroshima book by John Hersey that collects horrifying first hand accounts of Hiroshima survivors?

Have they stepped into the theatre with no background understanding of the atomic bomb and the horrors it carried?

Because this entire scene, actually much of Oppenheimer's mindset post bomb drop, DEPENDS on the public's understanding of WHAT THE PEOPLE ARE CLAPPING FOR. They're clapping for their project completion, for their victory, and for unknown amount of dead people. And WE KNOW that they are clapping for some of the most horrifying shit ever. We know they're clapping the cold war and nuclear proliferation's birth.

The film relies on you understanding this! The film depends on you activating your neurons and putting 2 and 2 together.

The film treats the audience as adults who don't need to see dead civilians to EMPATHISE for those civilians. You're also meant to be alienated from these cheering scientists, just as you can't help understanding why they're cheering.

It makes sense yet it's awful. Dissonance.

If you need your hand held so bad to understand why the bomb is a great evil, no matter how necessary it might have felt, when watching a biopic, then maybe you should have stuck to Barbie only, as that film was fun but significantly less challenging.

Also damn but Gary Oldman as Truman was so terrific, this guy really is a million faces.

#oppenheimer #snips talks

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celestialprincesse · 2 months

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miss angie your writing is so mmmmmmm yummy. especially the way you write soap.

that being said, i have a request for you !❤️

soap x goth!reader ? i think he'd be a little intimidated but up for the challenge anyways. & turns out reader isn't as scary as he thought (kinda like a certain LT).

if not, that's okay ! just wanting to let you know how much i appreciate your writing !❤️

THANK YOU POOKIE!!💕🎀🥴 I jus wanna squish Johnny's cheeks and tell him I love him💖

Your presence looms like a dark cloud over the corner of the café Johnny normally sits in. As a matter of fact, you're in his seat - the same one he sits in every day for a latte and a slice of carrot cake, the type that reminds him of home. The massive, clothboundbook in your hands taunts him, tells him you're planning to sit in his seat for a whole and makes his jaw tick. Realistically, he knows that his anger is unfounded. He's never seen you before, and it's hardly like there's a sign on the table saying 'reserved for Johnny MacTavish'. He should ask about that.

The next day he comes in earlier, hoping that maybe, you won't be there in his seat, maybe you'll have taken your stompy boots and Oscar Wilde novel and fucked off somewhere else. No such luck. He's too pissed off to order his carrot cake, to sit in another spot, far from the door and closer to the crowded center of the café. He's too pissed of to smile at the lovely waitress that always makes sure to give him an extra sugar packet with his coffee or packs an extra slice of cake into a to go bag. You have well and truly pissed him off.

Who do you think you are? In your dark eyeliner and chipped black nail polish, with your black clothes and fancy books.

A week comes and goes, and each day is the same. On Sunday, however, Johnny gets there first. He lets out a triumphant huff as he plops down in his seat, orders his cake and coffee before letting his mind drift. A meek voice snaps him from his reverie. Of course it's you, probably come to gob off at him about how he's sitting in your seat and how you want it back. But then why are you speaking so softly? It's almost as though you're nervous.

"I'm really sorry to interrupt." You mumble, looking down at the worn leather of your shoes. "Would you mind if I sat with you? I've been working on a project for my art portfolio - taking pictures here every day for a month to see what changes." The sight of a small, clearly vintage camera makes the balloon of anger deflate in his chest.

"Oh, right. Aye." He nods slowly, a little bashful, as though you'd somehow seen through his flesh and bone to the simmering, unfounded hate for you dwelling in his heart. "Thanks!" You chirp sweetly, suddenly far less nervous as you drop your satchel on the floor at your feet.

"So," He chirps up, clearly trying to diffuse the awkwardness between you. "I - uh - I like yer shoes. They're very cool." "Thank you." Is accompanied by a blush burning across your cheeks, bottom lip pulled between your teeth at the compliment. "I like your hair." "Ah, thank ye. I grew it myself."

Johnny's heart jumps in surprise at the sound of the bright laugh he manages to elicit from you with his B grade pun. It's nice, hearing someone laugh at something he has to say.

"So, are ye in art school or..?" The Scotsman keeps up the comfortable chatter between you, the sound of your two forks clinking against the china plate, in which your shared piece of carrot cake resides, is background noise for your conversation. "I was. I'm actually applying for a teaching position at the moment - hence the portfolio."

You two chat for far longer than you mean, and soon his phone is blowing up with messages from Simon (who he definitely needs to introduce you to) asking where he is and if he's coming to the gym or not.

"Same time tomorrow, yeah?" "Same time tomorrow, Johnny."

｡ﾟ ꒰ঌ ✦໒꒱ ༘*.ﾟ

I hope this was ok! I've got like no experience with any kind of goth subcultures because I'm a little corquette croquette croquet bitch 😔 n e hoo

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waitmyturtles · 18 days

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GMMTV 2024 Part 2, let's go

I've had my MULTIPLE cawfees and I'm watching the GMMTV Part 2 trailers. @my-rose-tinted-glasses, this one's for you!

TL;DR what I'm excited for: Ossan's Love with trepidation; Revamp: The Undead, I'm first in line; The Ex-Morning with open arms; Us, once we have a better sense of the screenplay; Sweet Tooth, Good Dentist, drop it like it's hot, Mark; Thame-Po, boys look gewd

****

1) Ossan's Love: THE KEY WORDS BEING "INSPIRED BY"

If I take away the inclination to do any sort of comparisons to the Japanese version whatsoever ("INSPIRED BY"), I'm thrilled that EarthMix get to do romcom. Earth at this level of baka is utterly unbelievable to me, you are too smokin' hot, boy, but try to bring it, because if you do, and it's a success, then I'll be fucking really impressed.

2) Leap Day: Looks scary. Gun!

3) The Heart Killers: ...

Man. Man! First in muscle shirts and an earring, kisses pushed up against walls, etc. Where have we seen this before. Lemme guess, they all get together in the end. I would like to force myself to be excited about this somehow, Jojo on 10 Things, but. I haven't been there with JoongDunk yet, either, so actually, they seemed kinda refreshing against the FK vibes, ha. Anyway, this reignited my OF burnout, which I'm honestly trying to ignore as I get close to re-watching The Eclipse for my Old GMMTV Challenge project. @my-rose-tinted-glasses, my trust issues switch is flipped to "on."

(Get Jojo away from ships, please. He had Tay kissing Joss and Mild in the same year AFTER Dark Blue Kiss. He fucking doesn't need to use ships.)

4) Friendshit Forever: no subs, seems intense, the gals are smokin', NEW AND BOUN?! Hate to say it, but even without knowing what this is exactly about, I'm intrigued? My Boun! New and Boun!

5) Perfect 10 Liners: They're letting New Siwaj do 30 episodes, folks. I have no predictions on this one, y'all will have to tell me if it's good. Perth is back with New Siwaj directing after 2018's Love By Chance. If they give Chimon a little comedy, I'll be happy. I asked for Junior again, but maybe I wasn't expecting him to go to school, but I will admit I like JuniorMark together, and if they get to helm 10 episodes as the center stars, then good for them! Maybe that'll be the bit of this series that I watch.

6) Us: I believe in this screenplay more than how 23.5 is working out. I think Fon Kanittha needs more stuff on her plate to play around with to make a great show. This trailer was great. I'm watching My Precious the Series now (after having watched the movie this past weekend, which I was disappointed by -- the series is MUCH better, and going better than 23.5), and I'm seeing that Fon does stuff very well, background community building that gives us macro- and micro-level understandings of her characters. If those levels are Sing Harit, I'm here for it, that was an unexpected appearance, but if he's recalling the strength he brought to Todd in Not Me, then I'm a happy camper.

7) Hide and Sis: I love Piploy. Wednesday Club was a total holiday trash watch for me last year, but I loved her a lot. Looks like they're promoting this as a multi-generational show with known older actors, the approach of which I like. Everyone hates each other and maybe tries to kill each other; Keeping Up With the Thai Kardashians, maybe? Surprise, Gawin's a cop. Chimon as murderer, I'll support that.

8) Thame-Po: This looks cute. I'll consider a pre-order! Separately, I happen to adore cute Lego from LYKN, so good on those dudes for getting a show, and I like that William is pushing his boundaries outside of music.

9) Break-Up Service: I am happy that Off has gotten this kind of sneaky love romcom (?) role.

10) Revamp: The Undead: I'm here for it. I'm so happy for BounPrem. I'm happy to see some strong support dudes in Kay and Mark in this project. I haven't watched My Only 12%, so I don't know from Santa, but I know a lot of friends love him. I am totally seated. GMMTV is really the BL Machine, huh, absorbing this project.

11) Sweet Tooth, Good Dentist: Do not get me wrong, I am very excited about this; I am just wondering if Baby Ohm needs a little workshopping to get more diversity in his expressions. But I am very excited, Mark looks SO DOWN and ready to lead. View! Jimmy! I'm good with this.

12) The Dark Dice: High School Squid Game, I can't

13) The Ex-Morning: I gotta admit. This kind of moment is one of the reasons why I'm so happy doing the OGMMTVC. The big-ass smile I had on my face seeing KristSingto again, even though I really wasn't the biggest fan of SOTUS -- I've done a whole accountability turn on Krist after seeing him in Be My Favorite, and I appreciate that this show will go meta on the KristSingto background. It fucking sucks that Shadow sucked, because Singto is such a good actor, just seems like his scripts are here and there lately, but anyway. Aof Noppharnach writing this? Last Twilight ended cringe, but I'm still an Aof girlie, so I am 100% excited for this.

14) Scarlet Heart Thailand: That wasn't really a trailer, but considering the reputation the base story has in Asia and globally, I like, business-wise, what this means for GMMTV, a historical that will have appeal to multiple generations. I understand the original novel for this, Bu Bu Jing Xin, isn't translated into English, and that's a bummer, because it seems like this Thai version, which has already been dramatized in China and Korea, is based squarely on the novel. Fuck Win. These were the kinds of shows I loved as a kid when I watched Asian shows with my folks, so I have to admit that I'm intrigued, but I would have liked to see a meatier trailer.

That's it!

#gmmtv part 2 #scarlet heart thailand #the ex-morning #the dark dice #sweet tooth good dentist #revamp the undead #break-up service #us the series #thame po #hide and sis #perfect 10 liners #friendshit forever #leap day the series #ossan's love japan #i am not tagging that jojo show for my damn safety #y'all will have to tell me if that show is worth watching

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nattaphum · 9 months

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Man Suang Press Conference [08/08/2023]

Interviewed: Pond (Exec Producer and CEO of BOC, Nat (Director), Mile, Apo, Tong, Bas, and Kru Ning (Script Writer and Acting Coach).

Q. What is Man Suang and how did it start?

Pond: Man = human, Suang = heaven; together heaven x human such as entertainment complex. Man Suang represents an entertainment complex where anyone can be anything. People chosen to be in Man Saung are carefully selected. Within the equality in Man Suang, it also represents the landscape of the real world. The Man Suang production is really brought together by people's love of art and the dream to create great production and quality work that also at times does not match the budget or traditional work culture. But the crew and everyone really have the same the dream and is willing to do what it takes to make Man Suang on the scale, goal, and vision we have.

Q: Why did this project require 3 directors?

Nat: i knew about KPTS and Kru Ning as an academic working on project that is being appreciated by the mass. And knowing Pond, who has the same goal, as a director, my role is to facilitate the process as it should be done on this scale.

Kru Ning: i works with Kru Bua on the script making. We both played a role in chosing the actors and actresses who will be in the film despite the actors' busy schedule. The challenge is bringing out the potential of all actors.

Pond: having three directors i was often told that it would’ve been a problem, but i’ve been through it on KPTS already. The three directors worked because we all respect each other. I represent the newer generation, Nat represents the experienced director, Kru Ning also represents the knowledgeable person. The key to successful work is that the younger is respectful and the seniors are not egotistic.

Q: Why choose this time period (between Rama III and Rama IV) as the setting?

Nat: This is the period where foreign powers start coming into the kingdom and has a rich history.

Q: What do you expect from this film seeing the anticipation?

Nat: i didn't expect this much reception, but also i believe we’ve done our best to meet the expectations. Thai period film is something not everyone would choose to do, but we gave it all.

Kru Ning: i expect that this film will inspire the new generation of film makers to also create period films or pick up pieces of history as their work.

Mile, Apo, Tong and Bas introduce their characters

Mile: I play Chat as a person caring for others. He came to Man Saung because of something that happened in his life. He's the 'leather man' the person who works on leather for drum. Meet different kinds of people, the very good and very bad.

Apo: I play Khem. I believe that in any generation or anywhere there’s who wants to step up and grow in their work, like Khem. He is a peasant that wants to have a better life, so he wants to use the dance that he likes as a stepping stone. Something made him enter Man Suang. For me, with any kind of role, I will believe in the role and the character. What is difficult, is imagining the character within the constraints of the time period. What he can and cannot do in that time period/culture. And the dance was a challenge. I told myself that I can do it since the mental training merges with the physical training to practice and learn the dance.

Tong: I play 'Hong'. The challenge of the role is also imagining the character in the time period and what the character can or cannot express. Even though in Man Suang you can be anything, there's still things you cannot be or tabooed. But we are lucky to have a great team who helps us. The script was redone multiple times.

Bas: I play Wan, who is best buddies with Khem, like we go anywhere together. I'm also a peasant, so the character background is at the lowest social ladder. Even the smallest mistake means death.

Q: How does working on KPTS influenced your work on Man Suang?

Apo: Going to events overseas, in France, in events with A-listers is kinda a private event. So going to closed events, where people live as the elite as their normal life helps me understand how it's like being Man Suang. Imagine myself as a small person going into private world of elites.

Mile: Starting of with KPTS makes me feel this big fulfilling energy when seeing fans or people who just started watching KPTS. Such show opened me up to opportunities of intertwining social culture issues, and Man Suang is doing the same. KPTS is a BL in a small group, but Man Suang will open up to more people.

Q: Let’s talk about the production standard that Man Suang set.

Pond: It's something I'm really proud of where we have set hours, everyone on set is treated equally in things like catering. Sometimes it becomes over budget but everyone on set is treated equally. Equality is something that we can easily talk but difficult make happen, but they tried it on this set, and it works. I want to make it the standard.

Q: Let’s talk about the support from the Ministry of Culture. Pushing Thai soft power.

Pond: i want to start with thanking Srichand because they represent Thai culture as well. Thanks to Srichand for collaborating and supporting us. Man Suang has a distinct culture footprint and Thainess that the ministry should support. So proud to be selected and that tax payers' money are being used to support Thai people work and art.

Interview with Ohm Cocktail

Both Pond and Ohm know the 28 Orchestra Band and they reached out to Ohm saying Pond has a project. Ohm likes historical stuff and was excited about the work. After knowing the overall scope of the project, and seeing the anticipation it was quite challenging, he hoped the idea will come to him, until he got the original script. But the script doesn't have the plot so it's hard to understand the story. He couldn’t understand the emotions until he saw the teaser. The overall theme is about going into a location hiding your identity in order to find something, that is an intriguing plot and good substance for the song writing.

END OF CONFERENCE

Translation provided by mileapo_sp 💜

[mileapo’s cut with eng subs here]

+ bonus:

#kinnporsche #mileapo #apo nattawin #mile phakphum #tong thanayut #bas asavapatr #man suang #mileapo movie

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flanaganfilm · 1 year

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Hey there!

I’m a new writer-director finishing up film school and I keep getting into little spats with some of my instructors over my characters talking too much/for too long.

My stock response at this point has basically become “Well, it works just fine when Mike Flanagan does it.”

I don’t know if it’s because I come from a theatre background or what, but I really don’t like the seemingly common wisdom that characters talking—actors orating—is boring for audiences. That you have to have Something Happening all the time, and that characters “just” conversing or telling a story doesn’t count, as though “to speak” isn’t a verb.

Since you tend to have characters speak at length and it turns out riveting—I’m thinking specifically of the confetti speech from Hill House and Hassan’s speech about being a Muslim cop in NYC from Midnight Mass—I was hoping you could share some of your thoughts on balancing action with conversation, giving actors room to “just” talk, and keeping lengthy oration engaging.

Thanks!

I also come from a theater background. I wouldn't be too hard on your instructors - in fact, they sound like they're pretty in sync with a lot of executives in the industry.

I received similar feedback when I was a film student. My first few student features were very talky. We were studying the breakthrough work of Kevin Smith, Spike Lee, and Jim Jarmusch. The indie movies that were selling at Sundance and hitting theaters were The Brothers McMullen and Chuck and Buck. Tarantino had hit the scene and his characters were dropping pages and pages and pages of thick, unhurried dialogue. Reservoir Dogs posters were hanging on every dorm room wall on campus, and that movie was essentially just a long conversation. We watched My Dinner With Andre in class. So yeah, most of our student films were emulating that.

I have always loved a monologue. Going back to Robert Shaw's hypnotic story in Jaws, to Harry Dean Stanton's jaw-dropping monologue in Paris, Texas. It's an art form. Giving actors room to speak, to find music in dialogue, to transport a viewer just with mere words... that's an incredible feat, I think. It's some of the oldest magic left.

That said, I've always tried to balance that out. It's a visual medium, after all, and whenever I've found myself leaning too hard on the words, I've tried to counterbalance that was a very ambitions visual sequence, a long unbroken camera maneuver, or something else that honors the difference between filmed entertainment and theatre.

One of the reasons I made Hush was to challenge myself to eliminate words from my arsenal and focus on visual storytelling.

I take a fair amount of flack for my monologues and dialogue, first from studio executives and then from a small percentage of viewers whose attention spans are being challenged. The most common note I get on any project is to take out talking. It can be disheartening, but I'm always trying to be fair about it, and to be sympathetic to the fact that a lot of movies and television have actively tried to shorten viewers' attention spans for decades now. Audiences are being trained for things to happen faster, louder, shorter. What good is your amazing 6-minute monologue if people changed the channel two episodes ago?

There are times when it is more important to me than others. I dug in hard on Midnight Mass, where the words and ideas in those soliloquies are a big part of the point of the show... but on The Midnight Club, I didn't push for it. I kept scenes relatively short, and there isn't a monologue to be found.

But my overarching feeling is that an artfully written and well performed monologue is a gift, and a dying art. It celebrates great acting, it requires great trust of the performer and of the viewer, and it has the power to transport us with one of the oldest magics human beings ever discovered - the spoken word.

Storytelling began that way: monologues around a campfire. Over the millennia, we've harnessed that campfire light, we've even learned to paint with it, to pull our dreams out of our minds and put them onto giant screens, so the whole world can dream together... but the real magic still starts with the words.

Which is my long-winded way of trying to encourage you to make your films the way you want to make them. Make the films you want to see. And if you love words... that's a great thing. Try to find a balance, never lose sight of the visual medium, and if you're going to drop a big chunk of words in there, try to earn it with something visually challenging as well.

Or, just tell your instructors you'll make it shorter, and then cut out ten frames of air. ;)

#monologue

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veliseraptor · 3 months

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January Reading Recap

Thousand Autumns: vol. 3 by Meng Xi Shi. This book is - I don't want to say growing on me because it was never not one I was enjoying, but it certainly got interesting in a new way in this volume. The shift in the relationship between Yan Wushi and Shen Qiao feels like an important one, even if it doesn't last, and the glimpses at a background for Yan Wushi not elaborated upon certainly have me intrigued.

I have the whole epub of the fan translation for this one and might end up just reading it through to the end without waiting for the official translation volumes to come out (though I'll probably read those too, because I like reading more than one translation where I can).

Conspirituality: How New Age Conspiracies Became a Health Threat by Derek Beres, Matthrew Remski, and Julian Walker. Sometimes you read a book on a really interesting subject and it just kind of makes you want to read a better book on that subject. Based on a podcast of the same name, this book was...fine? But it remained relatively shallow, and heavy on the examples rather than the analysis. It was more of a survey of instances where health and wellness/conspiracy thinking intersect than it felt like it was taking a deep look at where and why those intersections happen. It was interesting, and I learned some things, certainly, but it didn't quite dig as deep as I wanted to go.

In the Dream House by Carmen Maria Machado. What a fascinating piece of work. I don't have a whole lot of coherent things to say, except that I don't read a lot of memoir and I'm glad I read this one. I think I liked it better than I liked Machado's short story collection - certainly it was doing very interesting things with form and style in a narrative built loosely on the skeleton of a memoir. It's funny, because I could see myself finding the conceit here irritating or pretentious, but for whatever reason I think the vulnerability of the project undercut that aspect for me.

Dead Country by Max Gladstone. Mostly this book reminded me that I really want to reread the Craft Sequence, so I started doing that. Calling this an intro to that world feels weird - it doesn't really feel like an entry-point to me, despite the fact that it's being marketed that way - but perhaps that's me with the benefit of having read the other books but slightly too long ago to clearly remember them. (Hence the reread.)

Based on my vague recollections I remember liking his other books better than this one, but that's me comparing some books I really liked to one that I enjoyed but wasn't blown away by. But I'm still coming back to read the next one in this series, so I can't speak too harshly of it.

Faraway Wanderers by Priest. I really enjoyed this one! I love the way that Priest writes banter/interplay between two characters, and she definitely has a thing for people who are equally fucked up being fucked up together that I appreciate. Another thing to appreciate about this one is how (relatively speaking) tight it is - there's not a whole lot of wandering, despite the title, and the plot keeps moving in a pretty linear direction from start to finish. I love my longass cnovels with multiple arcs, but it was a little refreshing to read one this contained. It's not in my upper echelons of danmei I've read so far, because it doesn't hit my favorite tropes quite as hard, but I'm glad I finally got around to reading it.

Some Desperate Glory by Emily Tesh. Probably wins my favorite book I read last month challenge. The ending got a little deus ex machina for my taste, strictly speaking, but not so much that it ruined my experience - and I genuinely enjoyed the refreshing experience of reading a book that was digging into some messy shit in a way that I found satisfying. I felt like some of the character development could've used more breathing room/space, but maybe I'm just picky about that, and the propulsive pace did keep me reading this one so fast I think I finished it in two days.

This is really petty but I also appreciated the author's willingness to have the protagonist/narrator be not the picture of good progressive politics. It allowed room for the, you know, development, and in the current genre climate I don't take it for granted.

Spin Dictators: The Changing Face of Tyranny in the 21st Century by Sergei Guriev and Daniel Treisman. I don't quite know what I feel about this one. The basic argument Guriev and Treisman are making is that dictators have changed strategies in the 21st century from what they call "dictatorships of fear" to "dictatorships of spin." I think the main critique I came out of it with has to do with the authors drawing too stark a line between their dictatorship "types" and not necessarily acknowledging that a leader can move between them, or use elements of more than one "type" in different places. Like any binary, it obscures fuzziness of categories and potential overlap in favor of trying to make clear distinctions. This is particularly visible in the way that their writing about Putin feels dated just from the initial 2022 publication date.

There were a couple other things that struck me as weird (I suspect the authors might be a bit to the right of me, and there's at least a whiff of classism about their characterization of "the informed" as a class of people); on the whole it felt worth reading but also like a book I want to talk to someone else about to help process my thoughts.

Lords of Uncreation by Adrian Tchaikovsky. I love Tchaikovsky's work, and this conclusion to the Final Architecture series is no exception to that. And that's all, she wrote.

Shigidi and the Brass Head of Obalufon by Wole Talabi. I wanted to like this book more than I did - not that I didn't like it, but there's so much interesting stuff going on that it felt like didn't quite add up to a greater whole. A solid three star read, though, in the sense of "I'm glad I read it, and if someone else mentioned they were reading it I would probably provide my favorable impression, but I'm not going to go out of my way to recommend it to others."

There's definitely sequel bait at the end, though, and I probably will read the sequel if/when it appears. I'm intrigued enough, and the setting/worldbuilding is different enough - to get me that far.

--

I'm currently rereading Three Parts Dead by Max Gladstone (Dead Country made me do it) but have We Are Satellites by Sarah Pinsker proximately on my list for a book club; I'm on a bit of a fiction kick looking at The Mountain in the Sea by Ray Nayler, He Who Drowned the World by Shelley Parker-Chan, The Water Outlaws by S.L. Huang, and Too Like the Lightning by Ada Palmer as possible next-ups as well. I'll get back to my long, long nonfiction to-read list eventually. (in the meantime I've got my long, long, long fiction to-read list.)

#reading recaps #sometimes i read things

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upsidedownsmore · 3 months

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Ohhh! I found you from your giveaway but I remember seeing your Hollow Knight x Warframe crossover and thinking it was really cool :D Love your art and thanks for the giveaway :D

Thank you so much!!! I'm really glad you like my stuff and participated in the giveaway!! :)

I was actually working on hollowframe Qorvex when I saw your ask, so here's a wip screenshot of where it's at currently! Lot's of background shading and coloring to do still but it's coming along nicely

Anyways sorry about this but I'm gonna hijack this ask to talk about hollowframe for a bit under the read line cause now I'm in a real reminiscent mood lol just bear with me

This hollowframe project really has gotten so much bigger than I thought it ever would when I first started. It really was just an idea for a longer term project to keep myself drawing during my pandemic slump in 2021. It's really hard for me to believe that it's been two and half years since I started lol.

At first they were just gonna be simple like this

and then I kinda just kept adding detail and color and

now it's like

lol

For the longest while I tried to be as style accurate as possible to challenge myself with character design elements and techniques. That provided me such a good wealth of practice and the reception to it was crazy.

Once I had caught up to the most recent frame though I started abandoning full style accuracy as I pushed myself to practice more advanced styles and techniques while waiting in between new frame releases.

It's honestly such a cool feeling being able to trace a lot of my art progression within a single project, as silly as a cross over like this can feel like at times lol. It's so funny how hard it is to explain to people outside of the fandom how important hollowframe has been for me and the development of my other projects, I legit don't know where I'd be at without this thing and that is such a wonderfully absurd but awesome feeling

Anyways sorry again for hijacking your ask! I guess it's just still such a surreal thing to meet people online who are familiar with my work lol. Thank you!! :)

#hopefully i'm not being too self indulgent lol #love getting asks like this it's so sweet :)#UpsideDownSmore's art #my art #hollowframe #ask

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ach-sss-no · 8 days

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Things I do if i'm stuck on a WIP

I keep seeing memes about people fighting with their WIPs so maybe you could use some handy weapons?

Some of these are passed around pretty often, but they're in here again because I personally found them useful, as opposed to the common advice I see passed around that has never helped me whatsoever, also, you never know when it's someone's first time seeing something or when it might be worded in a way that makes it more understandable.

Some of these are more useful when you have some options for how to proceed with your story but can't decide on one, and won't be as helpful if you can see no way to proceed.

These are intended primarily for writing and many don't really have other applications I can think of, but some of these strategies should also work for any creative thing you're trying to do that is not progressing in the way you want it to.

Disclaimer: Sometimes none of these work. Good luck!

CRIPES, I'm Stuck

Complain

Tell someone (or pretend to tell someone) who does not know the inner workings of your story all about your story problem in as much detail as you can articulate. The more detail the better, including what events led up to this point and what you want to achieve going forward. Go all the way back to what the main premise is, even. When I do this I often end up figuring out the problem while I am describing it and never even send the message, which is why this can be an imaginary conversation if input from another human is not desired and/or available for whatever reason. You can also tell your problems to your cat, dog, tarantula, or Pokémon team! BONUS: Those things are all cheaper than a therapist!

Randomize

If you have multiple ideas for how to go forward and are paralyzed because you can see no greater or lesser value in any of them, great news! The machine can be trusted! (Disclaimer: The machine cannot be trusted) Go to random.org and use the list randomizer to scramble your potential plot options. Pick the one on top. If you realize you're unhappy with it, examine why. Whatever reason why you've decided you don't like that option after all will help guide you towards what you should be doing instead.

Got any kind of two option yes/no, pass/fail, success/disaster question? Flip a coin! This can be done digitally if you don't have coins lying around (I usually don't myself).

There is also the tried and true method of dice-rolling, which can also be done via app if you don't have dice of the desired type or you've lost yours.

Really stuck? Showrunner's challenge.

Iterate

This is both the least efficient one and the thing I do the most often. Writing a scene? Not sure how it should go? Just write different versions of it until something sticks.

Every time you feel unhappy with the scene, back up to the point that led to whatever you're not jiving with, cut it, and start over from there. I recommend saving all of your different versions so you can reconsider or do some horrific Frankenstein cut-and-paste later.

Like I said: horrendously inefficient. it doesn't have to be pretty... it just has to exist.

Play

Go do something else totally unrelated to writing. Just go do something else you enjoy. Just take a break. Your brain may actually fix your story problem when you ignore it and let it run in the background, and if it doesn't, you get a break. No downside! Chances are, you've heard that before. I'm telling you again because I so often fall prey to the 'but my break will be more satisfying if I fix the problem first' well, it's not getting fixed and I am not equipped to fix it right now or it would be fixed already, so it's break time now.

Work on another project that seems more fun to you at the moment. Battering your head against your current WIP because you think you "should" work on it instead of whatever shinier idea is in your head is probably not helping you progress on that project. Working on something else as a treat may jog your brain to unstuck you from your main idea, and if not, it will lead to a new creative product existing, and even if it never gets finished, you've tricked yourself into thinking art is fun again. No downside!

There's nothing wrong with adding [placeholderlmao] and going on to a part of the story you like better. In fact, knowing what happens later may help you fix the problem point (assuming you don't already know because you either don't work from an outline, or your story has diverged so wildly from the outline that it's not helpful anymore)

Edit

Depending on the length of your project and whether you have already declared parts of it off-limits this may not apply; but if you don't want to go forward right now, it may be a good time to go back and edit what you already have written. Sometimes when I do this I will see a stray idea I mentioned earlier that I can follow up on now, and that gives me a new path forward. I'll also sometimes discover that, while my current story problem is manifesting at my sticking point, the cause of it happened much earlier and needs to be addressed farther back in the story (and once that's done I'm not stuck anymore!) Just like pulling crabgrass out by the roots.

Did you have an outline that has stopped tracking with your story? Maybe you should go look at that outline and revise it to the new version, or at least remind yourself of what you thought was important to put in it. If nothing else, doing this should help you think differently about your story.

Steal

That's right! There are millions on billions of stories out there. Just like infinitely variable humans are built upon skeletons that look very similar, your story is uniquely yours, but its underlying structure probably follows a pattern that other stories with similar goals have used since human communication began. So go look up a story you enjoy that includes a similar scene to the one you're struggling with, and look at what it did to fix the problem you're having. Chances are, there's a way to map that onto your story while keeping your version unique, or at least you can get some helpful hints. Do expand beyond the medium you're working in. There's a lot that novels/movies/games/etc do differently, but basic story beats and interactions between characters are pretty consistent things across anything that's telling a story. If I'm looking for a model for a scene, I always look for something with a similar plot, theme or character dynamic that I thought was done well.

Alternately, do you know of a story that tried to do what you're doing and failed spectacularly? Go look closely at that and see why it's not working. Then ask yourself how those problems could have been avoided. The solution you arrive at may apply to your story as well, or at least lead in the right direction. Alternately-alternately: Do it wrong on purpose for the fun of it and fix it later (or don't fix it later)

Just have no ideas? Hang out with stories with the vibes you want until something clicks. When I was doing this fancomic, I watched The Emperor's New Groove a lot.

Well, there you go. If you think I missed something- which I absolutely did, because the creative process is very individual and there are some highly successful things I never, ever do and can't speak on because I am restricting myself to things I have personally done and found helpful-

-please add it on to this post, and make it longer and longer until no one is ever stuck on a WIP ever again (✿◡‿◡) because they are all too busy reading this infinitely long post to start any projects!

#long post #writing #writeblr #writers on tumblr #Now don't ask me what I write #Doesn't matter what I write or even whether I write well #The important thing is I've finished a decent amount of the projects I've started and feel I know enough to talk about that part of it

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nsart · 1 year

Photo

My Ingrid/Ashe piece for the Color-Me-Fodlan zine! They were in the add-on ship zine.

I had so much fun with this! I really challenged myself on the pose and background for this one. And what's more romantic then giving your crush their favorite book with a beautiful rose inside to show your interest, hmm? 😉📖🌹

Thanks so much for letting me be a part of this project!

#FE3H #fe3h ashe #fe3h ingrid #ashegrid #fe3h blue lions #nicolesart #smooth moves ashe #the best way to ingrids heart is food and books #and ashe did both lol

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notquitedeadpod · 6 months

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Today Not Quite Dead turns 365 days old!

A little over a year ago, feeling very disheartened and a little depressed, I decided to take the story about vampires I'd been piddling away with in the background of making Spirit Box Radio and turn it into a single narrator audio drama.

When I did that, I came up with a bunch of anti-rules:

I'd only work on episodes when I felt like it would be fun to do so

I'd make decisions about the story based on what was most emotional to me in the moment, rather than letting myself get stuck in the process of writing something with very restrictive plot goals

If I wasn't asking myself if I'd gone too far at the end of every episode's writing process, I wasn't going far enough

And so, the show was born.

This approach is radically different than pretty much every other writing project I've completed, and that's by design. At the time I started making NQD, I'd faced a pretty big set back with SBR and was struggling to work on it at all. I had a very clear vision for the show which at times made writing it very challenging and restrictive as an experience, and when I was faced with altering that vision, though I'm now convinced it worked out better that way anyway in hindsight, it was really difficult. It made me really rethink my entire approach to working on audio drama.

Writing NQD this radically different way was really good for me. I felt excited and giggly most episodes, and it was the first time I started to feel partially confident about my vocal performances. I noticed it was having a positive impact not just on my relationship with the writing on SBR, but how I felt about its quality overall. By working on something so different that required such a different energy, I came to value SBR more, and by the end of the show's run, I was in love with it the way I was at the beginning.

There's also the fact that I absolutely LOVE vampires. I always have. They're my favourite horror monsters, for reasons which are probably obvious to those of you who have listened to the show. They are almost indistinguishable from humans at a glance, they can live among us undetected, for the most part, but they are NOT human. They're different in importnat and unresolveable ways. As someone who has always struggled to fit in, this has forever resonated with me, and for most of my adult life, I've had an unserious vampire project or two being whittled away at in the background.

There were also some problems with how I wrote season one. NONE of the dates, times or ages lined up properly, and I frequently found I'd written myself into very boring, unfunny plot corners I'd have to spend a lot of time reasoning my way out of, which is no fun at all.

Something interesting, but not really good OR bad, is that LOTS of people found the show felt very trans to them, though none of the characters are transgender in canon. I'd not written the show this way intentionally, but it was very cool to see that other people had found this thematic thread buried in the story.

By the time I got to the end of Season One, I had to admit to myself that despite my best intentions, I had written a show with plot and themes. This was entirely an accident, but I was pretty happy to realise it. I also found that this show, something I'd written primarily for myself, had a real audience. This was a delightful thing to realise. You're all freaks, and I adore that for you, and I hope you're incredibly proud of yourselves, and I mean this entirely seriously. I am a freak too, otherwise I would not be able to write the show at all.

Anyway. We're over halfway through Season Two now, and my approach to the show has changed quite a lot. Though it has remained a project that is predominantly vibes-led, I've also found it exciting to spend some serious time thinking about the show's arcs and future and really indulging in making it As Much As Possible. As you will see over the next several episodes, that is So Much, actually.

On this year's first anniversary of Not Quite Dead, I find myself once again disheartened and depressed, because it's the slow slide into the long nights of winter, and as much as I love the cold and the dark, I struggle with my mental health year-round and this particular change of seasons is the one I feel is the hardest. But I'm also damned proud of this show, and not despite it's silliness, but BECAUSE of it. It's made me a stronger character writer, a better performer, and it's been a disgusting amount of fun.

Here's to another year of this ridiculous show about vampires.

Live. Laugh. Bite.

#not quite dead #audio drama #not quite dead pod #not quite dead podcast #gay vampires #vampire podcast #vampires #vampire #nqd pod #horror #nqd #eira speaks

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gorgeouslypink · 11 months

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Hi, Pink! I think I might have woken up in the void! But I'm not exactly sure but it felt like I was in the void. English isn't my first language but I'll try my best!

So I have been affirming for the void. I was doing the 2 weeks challenge you reblogged somewhere. It was day one!

I was actually feeling really positive for the first time in a long time. Every time a negative thought comes to my mind, I'll just say to myself, think positively, and somehow it was working for me. And also I was excited to affirm the void concept. It felt like a fun project lol.

I wasn't planning to wake up in the void but before I sleep (like right before you close your eyes) I read the void concept affirmations and fell asleep. Then I find myself somewhere I have never been before. The feelings are so different. I never felt like that before. There was no background voice, so I tried to open my eyes but wasn't feeling anything. Even though I couldn't feel my body, I knew that I was lying on my bed. It's not like you could just move your body but you knew you were lying on your bed. sth like that. Everything was pitch black but not scary at all. It was so peaceful and calm. Like I was just being and nothing. I felt so light. I didn't notice I was in the void I was just thinking, oh what a cool feeling, then I remembered that I was doing sats and I affirmed that I have certain amounts of money. And that's all.

The funny thing is, I wasn't aware of me being in the void while I was there but I just thought I was dreaming? It's 4am here and I can't check my bank acc rn but regardless, I loved the experience!

I'm not sure how long I was there because I didn't have any sense of time. Now I think of it, maybe I was there for like 1 minute or something?

I'll let you know If I manifested my desired amount of money lol. And I now feel so relieved. I had a whole list of wanted things but who knows I might wake up in the void again tomorrow.

Thank you, Pink! You're amazing for always helping us <3

Hi love! I'm pretty sure you were in the void and I'm so proud of you!! Keep me updated! 💗

#void state #void success

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precambrian-sea-pancake · 8 months

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Big Announcement!!

I am going to be writing a novel!!

Ever since I was little I wanted to publish a book, but I was under the impression that I couldn’t.

After meeting some people both in my life and online, I realized that basically anyone can. After all, I’m an adult and can do what I want if I really put my heart to it. There was always one story that has stuck with me for YEARS that I finally plan to bring to life. I live for the day I can walk into a bookstore and see my own creation on the shelf.

As of now I bought myself a little notebook to store information, outline, take notes for research, etc. I’ll make another google account specifically for drafts of chapters.

This will be my biggest project as of now and I’m ready to take the challenge! Especially since I do plan a prequel for this.

So, I thought I’d give some context to my followers as to what it’s a about, since I’ll be posting about it occasionally.

—

Sir Alistair Fletcher is a knight from 13th century England who was chosen to wield an enchanted sword and shield as a means to protect his kingdom. Unfortunately that all came to an end when he turned to stone while sacrificing himself to save Europe. Over 700 years later, the spell wears off and he finds himself in a completely different world.

Abigail Anderson is an aspiring historian and employee at her city’s history museum. However, she’s struggling to work her way up and find respect from her peers. Maybe it’s her educational background or her hobbies, but she’s determined to prove herself and turn her life around for the better.

The two of them end up crossing paths one day and both their lives take a turn neither of them expected. Despite their vastly different experiences, they find a special connection within one another.

—

God, I can’t stress enough how excited I am to get started on this. It’s going to be a long process with school and other projects, but it’s going to be so worth it!! Seeing it all come to life is all I could ever ask for.

So thank you to everyone who’s ever shown interest in my stories and writing, I wouldn’t be doing this if it wasn’t for all of you.

#personal #announcement #writing #ocs #original story

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precious-little-scoundrel · 25 days

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What got you into writing/how long have you been writing?

What’s your writing inspiration?

Do you write in silence or need background sounds? Like music?

Do you struggle more with dialogue or detail?

Any tips for someone who wants to write fanfiction?

How do you differ all your OC’s so you don’t rewrite the same characters over and over?

Do you do research?

— from someone who would love to write their own stories lol but yours are great!

My darling. So many apologies for how tardy I’ve been in replying to this, I really wanted to give it due thought because I’m quite touched you’d even ask.

1: I’ve been writing since I was little, my mama was always reading me classics and my greatest ambition was to be some kind of author every bit as colorful as their characters, a la Oscar Wilde. 🥳

2. Writing inspiration? Oh that’s a hard one only in that I could cite a million things and chat your poor ear off, but to be boring and also frank -I just love stories. I think they’re so inspiring and healing and necessary for making sense of things, or else resigning to things that can’t be explained. I love to study love and how very human and fallible and also indestructible it is in its many forms. I love to dig through tragedy and find the refining purpose of it, I love to take characters through hells I’ve been through so that I can imagine their triumphs, too, and my own through them. If this can happen to -name your hero- then I’m no smaller for it happening to me, if -name your hero- can get through it and be loved and admired by a whole fandom? -I deserve the same commendation from myself at the very least. Stories are essential and fun and I never ever imagined I’d have a little group one day liking my own where we could all scream about these things together. I’m legit so humbled each time I log on here and find y’all ready and waiting and interactive. The community of it, that’s the biggest drive right now, tbh. What a sweet season.

3. I usually write in silence, or else at any chance where I have a moment, so that could be public transport or lunch breaks or in the loo during family holidays, ha. However I do find music to be an inspiring mood setter for writing later that day. Especially as i juggle many ongoing projects at once, the genre im listening to before may very well influence what gets worked on.

4. Detail!! Dialogue can be challenging but I hear it so clearly in my head most of the time that it’s not hard. Details can devastate me.

5. Ooof, I still feel like I’m a baby at it, this is only my second fandom to dare for. I’d say for sure write what you find inspiring instead of what appears to be wanted, i firmly believe that’s the only sure way to keep up any inspiration and the niche will draw its own crowd, one’s who will like it all the better for its specially crafted world. Also, for dialogue -replay and replay dialogue from the character before you write. Are they terse or do they ramble? Are they sarcastic or earnest? Do they have a word they repeat often? -I noticed the other day how Rosenthal uses “you know?” often in the show. Also, sometimes switch up sentence structure from character to character, it helps feel like hopping brains without a fully jarring POV change. All these are things I’m currently working at myself, but that’s the best I’ve got for advice.

6. Oh boy I’m still figuring this out myself. Three things come to mind as little helps I use- first off, read real biographies, it helps tremendously with crafting fully dimensional fictional people. Two -have a maturing arc for your OC during the story, separate from whatever adventure or romance that occurs, this will make it feel less like a inserted person into the broader story. Three, choose a personality type or something similar to both keep them separate from the next but also to ensure their virtues have corresponding vices.

7. I do research a lot. But I find that it’s a fine line for myself of when that drains all creativity or bravery. Im massively indebted to so many mutuals who generously share their own with me.

#best of wishes to you Nonnie! dare bravely!!#writing woes #about the author 💋

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beyond-the-flower-grove · 5 months

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Here’s a sneak peek at some of our game’s sprites!

I’ve always been a painter, so I wanted this project to feel more painterly. I’m really striving to give everything more of a children’s book feel. You’ll notice that designs and backgrounds are relatively simple! Maybe I’ll share my drawing process one of these days. 💜

I’m really not a character artist, but I needed sprites to get underway so I took them on myself. I’ve been challenging myself to practice expressions for these by only using the eyes and head tilts to convey emotion. Been having a lot of fun with it!

I love seeing you guys interact with these posts, and I hope it’ll continue! Remember to share and comment!

Follow us for more posts from beyond the grove!

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