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shark vs the universe
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⣠Chile in a Photography âŁ

Product Placement

Janaina Medeiros
Mike Driver
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DEAR READER

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hello vonnie
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Game of Thrones Daily
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@aw-k-wards

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french nighttime vocab đ¤
đ night vocabÂ
la nuit: the night
la lune: the moon
les ĂŠtoiles: the stars (f)
nocturne: nocturnalÂ
đď¸ bedroom vocab
la chambre Ă coucher:Â bedroom
la chambre: bedroom
la grande chambre: the master bedroom
un lit: a bed
l'oreiller: a pillow
un animal en peluche: a stuffed animal
une couverture: a blanket
la literie: bedding
la table de chevet: bedside table
le dessus-de-lit: bedspread
la taie d'oreiller: pillow case
douillet: cozy
la couette: comforter
faire le lit: make the bed
le lit est dĂŠfait: the bed is unmade
un grand lit:Â a king sized bed
un lit Ă deux places: a bed for two people
un lit Ă une place:Â a bed for one person
un cadre d'un lit: bed frame
les draps: bed sheets (m)
un lit superposĂŠ: bunk bedÂ
 đ´ sleep vocabÂ
un somme:Â a nap
un petit somme:Â a quick nap
la sieste:Â a siesta (nap in the afternoon)
le sommeil: sleep
la somnolence: sleepiness
un rĂŞve: a dream
un cauchemar: a nightmare
une rĂŞverie: a daydream
l'insomnie: insomnia (f)
le somnambule: sleepwalker
un noctambule: a night owlÂ
matinal: early riser
un rĂŠveil: an alarm clock
đ verbs
se lever: to wake up (literally to rise)
se coucher: to go to bed
se recoucher: to go back to bed
s'assoupir: to doze off
dormir: to sleep
rĂŞver: to dream
rĂŞvasser: to daydreamÂ
pioncer: to sleep (informal)
đ phrases
bonne nuit: good nightÂ
passer une nuit blanche: to pull an all nighter
ĂŞtre un lève-tĂ´t: to be an early birdÂ
être un lève-tard: a late riser
sortir du lit: get out of bedÂ
dormir Ă poings fermĂŠs: sleep like a log
rester ĂŠveillĂŠ: to stay up

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sorry to get romantic on main but i want to go to an art museum and hold hands with someone i care about
This is how Tiffany Haddish ended her standup special. Iâve never been so happy to be cursed.
today is not my birthday
reblog if your birthday is not today
Reblog if you are soft and like to be cuddled

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Objects; a series of film posters highlighting movie props. By Jordan Bolton
YES @thatsthat24 YES YES YOU GO GURLLLLLLLLL YES Also: mO O D.
Isle of Dogs: This movie is about a bunch of dogs sent from Japan to live on an island.
Me: Oh nice
Isle of Dogs: As well as the 12 year old boy who steals a government plane to fly to the island to find his dog.
Me: *sobbing* Fucking relatable
Writing Arguments Between Characters
â Arguments in books are some of the most pivotal and important scenes in a narrative, but theyâre also some of the most difficult because fights, in the moment, can seem much more dramatic in our heads than they would seem to an outsider. The great thing about writing is that you have the option to add context you wouldnât have otherwise, which puts the reader in the charactersâ heads and into the heat of the moment. I decided it was worth an article because itâs a very hit or miss kind of scene to pursue and Iâve received a lot of questions on the subject, so Iâd like to answer (most of) them here. Enjoy!Â
Instigation
Which character began the fight? Sometimes fights start days before they actually turn into a heated argument, so if there is a build up to the scene, make sure youâve taken the time to make that clear in the last couple scenes or chapters.Â
Sometimes, it isnât actually clear to the characters what or who started the argument and it just sort of bubbles up over time or as events make the characters more confused, angry, scared, etc.
Thatâs another thing you need to know before you start writing an argument: what emotion is driving the characters to participate? Fear? Anger? Confusion? Sadness? Frustration? Tiredness? Repression of past feelings? Betrayal? In order to make the characters argue believably, you need to be in their headspace, and you can only do that if you know why theyâre fighting in the first place.
Tone and pace
Build up
In order for an argument to be impactful to the reader, there needs to be some substantial escalation. Fights are like stories. Thereâs something that starts it, thereâs rising tension, thereâs a climax, and then thereâs a cool down period before the resolution. Focus on the way you do the rising action especially, because the climax of the argument should be an âoh sh*tâ moment.
Dialogue & Interraction
There are different types of arguments people can have. Thereâs the slow burn ones that the reader knows are coming, but are still really jarring when they come to pass. There are also the ones that seem like theyâre out of nowhere if you donât have context, but to someone who has been following maybe the past few days of the two peopleâs lives, they can tell that the actual subject of conflict isnât what theyâre really fighting about, but a deeper underlying issue theyâve both been struggling with. There are many ways an argument can go and feel to a reader, but a huge part of the subtext is how the two characters interact.Â
If your characters are screaming about a dish that was put away wet and left a ring on the stained cabinets, it will be fairly obvious to the reader, as that sort of interaction, at surface level, wouldnât serve much of a story-telling purpose, and therefore will lead the reader to assume thereâs more to it and search their arsenal of contextual evidence to find the real source of tension between the characters. This can also be accomplished through clues in dialogue, such as sarcasm in response to when something relating to the actual issue is mentioned, or a lull in the argument when the two characters realize that theyâre not really talking about a stupid bowl, are they?
Resolution
How the argument ends could be used to shift where the reader believes the story is going from there on. The end could be very insignificant to your story, as fights between characters are often used to get across some key information about characters or context or introduce new conflicts, which brings up my next point.
Integration
Arguments are a really good opportunity to integrate lots of important information for your reader in a way that shows instead of telling. You can use arguments to relay lots of information to your reader, such as:
Character tendencies
Relationships between characters
Smaller conflicts
Foreshadowing
Associations that will be useful in future scenes
Shifts in tone
Changes in the direction of the story
Underlying issues that might come up later
and many more.
Some General Tips To Keep In Mind
Always ask yourself âwould so and so really do this?â
During arguments, peopleâs responses will often be blended with their reactions. Their face will be shocked and their words will be sharp. Try to include these little mixes in order to make the pace faster and more suspenseful.
Most large arguments start with something smaller and less significant
A lot of the time, the reactions wonât be like âi canât believe he said that to meâ, theyâll be defensive and/or a shot back without much thought.
Most arguments, especially between two characters who generally like each other, will end with something like one person walking out of the room, one person deciding to sleep on the couch, or one person avoiding or ignoring the other. Most fights between characters who know and matter to each other donât end with a punch in the face.
Arguments donât usually end when theyâre no longer yelling at each other.
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Favourite narrative tropes:
âThat was ONE time!â
âDue to an administrative errorâ, or any major plot point which is caused almost entirely by bureaucratic fuckups
âContrary to popular beliefâ appended to something thatâs either really obvious or completely subjective
A character makes an assertion, then cut to the narrator contradicting it (ââEverythingâs fine!â Everything was not fine.â)
First-person narrators who call a specific character by a series of increasingly convoluted nicknames
Unusual narrative euphemisms. I still hold that describing around a curse word is almost always funnier than just using the word.
Establishing character moments which subvert your expectations right from the get-go. The best example is in the Brooklyn Nine Nine pilot, where Jakeâs fooling around at the crime scene before revealing that heâs already solved the case.
Montages. Just montages of any kind, for any reason, anytime. I actually think they work better in text form because you can do so many creative things with them.
Side characters with a level of fourth-wall awareness / quasi-supernatural ability which is never quite certain, like the janitor in Scrubs.
Double meanings in narration that take a while to make themselves clear.
Really, really specific similes.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
Resources For Worldbuilding
Culture & Society
Creating Fictional Holidays
Music For Your Fantasy World
Creating Religions & Belief Systems
How to Design Your Diabolical Cult
Historically Accurate Sexism in Fantasy: Letâs Unpack That
Debate with the Squirrels: Sexism in Fantasy
Feudalism
Using Politics In Fantasy Fiction
Mythic Justice â Crime and Punishment in Your Fantasy World
Government Worldbuilding
Realistic Political Strife
A Politics Of Worldbuilding
Language
Creating a Language
The Language Construction Kit
The International Phonetic Alphabet â Audio Illustrations
Fantasy Name Generator
Geographic Names
Medieval Names ArchiveÂ
Squid Name GeneratorÂ
Model Languages
XenolinguisticsÂ
History
Prehistory
Mythos
History
Today
Myths, Creatures, and Folklore
Encyclopedia Mythica
The Ancient History Encyclopedia
Using History as Inspiration for Fantasy
Victorian Era Family Day Life in England
Peasant Life in the Middle Ages
Everyday Life in the Middle Ages
English Monarchs
Feudal Japan
The Story and Structure of the Iroquois Confederacy
Science + Geography
Dimensions
Solar Bodies
Climatology
Planetary Geography
Water Geography
Cartography, Maps, Star Charts, and Writing
Fundamentals of Physical Geography
Dating of Middle-earth events, using Precession of the Equinoxes and Tidal Friction
Orbital Operations in Science Fiction
Planet Designer
Artificial gravity calculator
Natural gravity calculator
Seldenâs Catalogs of Objects for Celestia
Medieval Technology
Defining the Source, Effects, and Cost of Magic
How to Create a Rational Magic System
Miscellaneous
/r/worldbuilding
Fantasy World Generator
SciFi World Generator
Focused Ambiguity: Using Metaphor in Fantasy Writing
Space Engine
Terragen
The Five foundations of Worldbuilding
Setting the Fantastic in the Everyday World
Support Wordsnstuff!
If you enjoy my blog and wish for it to continue being updated frequently and for me to continue putting my energy toward answering your questions, please consider Buying Me A Coffee.
Request Resources, Tips, Playlists, or Prompt Lists
Instagram // Twitter //Facebook //#wordsnstuff
FAQ //monthly writing challenges // Masterlist
A Ghost Story (2017)
Directed by David Lowery Cinematography by Andrew Droz Palermo
âDonât be scared.â