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noise dept.
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@azertykeynes
new type of guy just dropped
this is standard issue uncle

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this is from a "manipulation advice" video and it's just so fucking funny to me. why didn't I think of responding to insults like this
same energy
Are the rumors about the ozone layer being totally fixed true ? If yes , is it susceptible of being opened again ans if no, is it suspecte
Tried some Soul Eater cookies... They taste amazing! Especially with honey! â¤ď¸đŻ
The cookie cutter is from "Schwarze Katze" on Facebook, i think. I bought it at a convention a long time ago.
Imagine that one day the whole world would look like this.
THE LAST OF US
World withou us. Lovely.

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Ive thought about writing a book about a girl finding out she was kidnapped. I don't have an idea to start it off with. Could you help me? Thank you so much for your time in reading this. â¤
NaNoPlaMo - National Novel Planning Month
Iâve been wanting to post about novel prep in anticipation of Novemberâs NaNoWriMo and this seemed like the perfect opportunity to do it. We have an anon with a vague idea that theyâre looking to build off of. How perfect!
*If youâve never heard of NaNoWriMo, read up on it!
The Building Block Method
Iâm going to preface the rest of this post by saying that I drew a lot of inspiration from The Snowflake Method. Sarah did a post a while back where she gave us a brief overview of this process. It was originally developed by Randy Ingermanson, and I have to say that this man is my hero. If this method sounds too intense for you, Iâm going to simplify it using the building block metaphor.Â
Building blocks are a great way of thinking about story planning because each plot element you plan needs support in order to have impact. Starting with a good foundation allows you to build up an impressive structure. And of course, when youâre frustrated, itâs easy enough to tear it down and start again.
Choose Your Blocks
Our anon has a couple story details to start with, but weâre going to backtrack as if we have nothing. To get started off on the right foot, construct your first five blocks.Â
Protagonist
Antagonist
Conflict
Setting
Genre
Make sure you have an idea for each block before you start delving deeper into others. Our anon already has 3 blocks figured out.
Protagonist = the girl that is kidnapped OR the kidnapper
Antagonist = the girl who is kidnapped OR the kidnapper
Conflict = the kidnapping
See, I left the protagonist and antagonist open because itâs all a matter of perspective. Does the kidnapper have to be the antagonist? Not necessarily. The important thing is that the writer knows which is which. This leaves us with the setting and the genre.Â
Setting = where and when does this story take place, for example: 2018; New York City
Genre = fantasy, science fiction, romance, literary, mystery, ect.
Donât overthink your genre at this point. You donât need to define it in specific terms just yet, but itâs a good idea to at least know if your story will be grounded in reality or not.Â
Build Each Block
A block has 6 sides, yes? Each of the blocks we defined will need 6 sides to complete it. Start wherever you want with this process. For each side, make sure that each description is no longer than one sentence. Notice that the sides for protagonist and antagonist are the same, because well, theyâre both characters.Â
Protagonist/Antagonist
Name
Age
Gender
Ethnicity
Sexual Preference
Top priority
*For top priority, think of vague ideas: creative expression, professional advancement, family relationships, financial stability, self acceptance.Â
Conflict
Who/what sets conflict in motion?
What will happen if the conflict is not acted upon?
What will be gained?
What will be lost?
Who are the players?
Who will survive?
Iâm going to break this down by using the anonâs story as an example. Remember our conflict is the kidnapping. Who/what sets the conflict in motion? The kidnapper. If we know more at this stage, we can provide more as long as we keep it under a sentence. For example, an organization looking to exploit the protagonistâs superpowers may be behind the kidnapping, and therefore, sets the conflict in motion.Â
What will happen if this conflict is not acted upon? The girl has been kidnapped, so what will happen if she is not un-kidnapped (i.e., saved)? This will help you define the stakes of your story. If the organization is looking to exploit her powers, the answer to this question could be whatever they look to do with those powers (the world is destroyed) or it could be a personal consequence (the girl is killed, the girl is corrupted).Â
What will be gained? Now weâre looking at how the story will actually play out. Think in terms of your protagonist. If the kidnapped girl is our main character, what will she gain from begin kidnapped? This is a tough question to answer, but more often than not, the responses here will have to do with how that person changes as a result of the storyâs conflict. If youâve already completed your protagonist block, it may be as simple as pulling from the top priority side. Perhaps her top priority is self acceptance, and she gains it by going through this ordeal. Or maybe itâs family relationships, and this situation enables her to establish a better bond with a family member.
*What is gained does not have to be the characterâs top priority, but itâs a good place to start if youâre stuck on this one.Â
What will be lost? Again, weâre talking about what will actually happen in the story. What does our kidnapped girl lose from being kidnapped? She may suffer physical or psychological traumas that change her life. She may literally lose a friend, whether that is because the friend dies in trying to rescue her or because the friend betrays her. Maybe she loses her home because she canât return there, even after sheâs freed from her prison.Â
Who are the players? Think basic. Weâve obviously got our kidnapper and our kidnap-ee, but who else is involved? Start with the protagonistâs and antagonistâs allies. For example, who assists the protagonist in obtaining her freedom, or who ultimately rescues her? Who assists the antagonist in carrying out their goal (the henchmen)? Again, you donât need specifics. Brainstorm ideas for additional characters at this stage.Â
Who will survive? Decide upfront if there will be deaths, whether on the good side or the bad side. Planning a character death can help you construct your ending and build to it, so the death feels more integrated into the story and less a matter of shock value. This is especially good for horror stories or murder mysteries where there will likely be a lot of death.Â
Setting
Real or fictional?Â
Accurate or inaccurate?
Static or variable?
New or familiar?
How is the setting changed?
How does the setting compel change?
Real or fictional is whether you made up the location or whether you based it off of somewhere thatâs real. Accurate or inaccurate expands on real locations/time periods to determine if youâre taking liberties or attempting to tell an accurate portrayal. Static or variable refers to the amount of times the setting or time period changes. If a character is on a long journey, youâll likely have a variable setting that changes constantly. Same with time travel. New or familiar should tell you if your character is going somewhere new, of if theyâre facing challenges in an environment they feel comfortable in.Â
How the setting changes depends on how the conflict influences it. A barren wasteland may be made fertile again based on the outcome of the story. A violent country may become peaceful. This gets you thinking about big picture goals for your storyâs universe.Â
How the setting compels change is the opposite. What does the setting do to your character? Does it force them to develop new survival techniques? Does it make them examine aspects of their life they used to ignore? Â
Genre
Genre is structured a bit differently. Instead of basing each side on a particular idea, list six concepts or adjectives that will describe your story. These can be more detail about the genre (urban fantasy, psychological thriller, young adult), they can be themes or tropes (coming-of-age, chosen-one, grief) or world-building details (magic, time travel, serial killers) or even types of people or species (fairies, vampires, astronomers, middle-class).Â
Think of six words or phrases that you find fascinating. Imagine how youâd complete the sentence:Â âIâve always wanted to write about ______.â This will help you develop a story that intrigues you and holds your interest.Â
Start Building
Now comes the fun part. You have all your blocks, with 6 sides each. Now you can start making connections. Make notecards for each side (maybe different colors for each block), and then randomly draw 2 or 3 at a time. Look at the items on the notecards and see if you can connect them with new threads.Â
For example, say we draw our âwho are the playersâ side, along our protagonistâs age. This gives you an opportunity to consider the ages of the other players, and how theyâll relate to the protagonist. Remember we referred to potential players as the protagonistâs allies? Are they older than her or younger than her? Does this lead to domineering or submissive relationships? Is someone protective of someone else? Does someone look up to someone and think them indestructible?Â
Each time you make connections, youâre starting the construction of a new block. These second tier blocks will be more dynamic because they pull in pieces from your five foundation blocks.
Donât Be Afraid to Knock It Down
As youâre building, you may run into things that no longer work or that just donât interest you anymore. Itâs okay to tear down the tower and start constructing something new, whether you come up with new foundation blocks or attempt to use your existing ones in a different way.
Things may not seem crystal clear during this process, and you may run into some speed bumps along the way, but donât let it discourage you. The whole concept behind this method is play. Youâre developing a story from the ground up and that takes a lot of patience, and a considerable amount of trial and error. Cut yourself some slack and just enjoy the process.Â
-Rebekah
out of boredom i decided to scan a stuffed shark. here are the results.
your work is appreciated
op i spent entirely too long on this and im sorry
Itâs 1:30 am and Iâm cackling like a deranged witch
Whether you write fiction or non-fiction, you must find your writing voice. But what does that really mean? Here are 10 questions to find your voice.
Resource: Writing Science Fiction
So you want to write science fiction but are weary about jumping into a new genre or are scared of the competitionâno problem. Science Fiction is one of the oldest genres out there, and it is still one of the most popular with a market youâre sure to latch onto. But with so many books before you and new expectations from readers popping up each day, itâs more important than ever to tell a new story, so keeping an eye out for the clichĂŠs and tropes will be a great first step in writing your unique tale. Here are some resources I hope will help.Â
Getting StartedâThe Basics:
9 Steps to Writing a Science Fiction Novel
Advice to Aspiring Sci-Fi Writers
The 3 Golden Rules of Writing Science Fiction
10 Laws of Good Science Fiction
How to Write Science Fiction(1) and (2)
Writing Sci-Fi and Fantasy (Tips and Resources)
1001 Sci-Fi Plot Ideas
Knowing the Cliches and How to Avoid Them:
Enough With the Dystopias
The Grand List of Overused Sci-Fi Cliches
The 10 Worst Science Fiction Cliches
The Ten Worst Cliches of Fantasy and Sci-Fi
10 Overused Sci-Fi Tropes
10 Cliches to Avoid
Your Characters and Other Helpful Resources:
10 Fantasy and Sci-Fi Novels With Protagonists Of Color
10 Writing Rules We Wish Sci-Fi Writers Would Break
Things Your Sci-Fi Story Needs
How to Create a Believable World For Your Characters
3 Things You Need to Know Before Writing a Female Protagonist
One last note: donât let anyone tell you that women donât like sci-fi; diversify your cast and watch your readership grow. Please.Â

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Since itâs NaNoWriMo, I thought Iâd repost this helpful 4 Essential Elements You Need For A Good Story.
Oh, fuck it. I forgot the snake again.
Thatâs why Iâm a bestselling writer. I NEVER FORGET MY BASIL.
Iâve deactivated my fanfiction account.
everyoneâs having their mid-life crises at like 19
shoutout to paris hilton for not abandoning her âmicropigâÂ
when it turned out that it was a normal piggy who grew up to be a big fat fatty piggu
Actually thatâs pretty standard size for a micro pig. Pigs are ENORMOUS, dude. The average pig on a farm is 7 feet long and over 700 lbs. A normal pig would be much bigger than Hilton.
EDIT: This is a photo of the worldâs smallest recognized breed of pig, the kune kune. Iâm sorry cartoons lied to you all.
This is the pot bellied pig, another famous âsmallâ breed.
This is your average adult pig.
I looked at that last picture and thought of two things:
1) Wow, thatâs big.
2) Now, we know where all that bacon comes from.
No wonder thereâs so much pork everywhere.
Fun Story: My director kept telling me and my tenor sax buddy to play softer. No matter what we did, it wasnât soft enough for him. So getting frustrated, I told my buddy âDont play this time. Just fake itâÂ
Our Band Director then informed us we sounded perfect.Â
To my readers: âpâ means quiet, âppâ means really quiet. Iâve never seen âppppâ before haha.
On the contrast, âfâ means loud, and âffffâ probably means so loud you go unconscious.
I had ffff in a piece once and my conductor told me to play as loudly as physically possible without falling off my chairâŚ
Me and my trombone buddies had âffffâ and he sat next to me and played so hard that he fell out of his chair.
The lengths we go for music.
Okay yeah so I play the bass clarinet and the amount of air you have to move and the stiffness of the reed means it only has two settings and that is loud and louder, with an optional LOUDEST that includes a 50% probability of HORRIBLE CROAKING NOISE which is the bass equivalent of the ubiquitous clarinet shriek.
One day, when I was in concert band in high school, we got a new piece handed out for the first time, and there was a strange little commotion back in the tuba section â whispering, and pointing at something in the music, and swatting at each otherâs hands all shhh donât call attention to it. And although they did attract the attention of basically everyone else in the band, they managed to avoid being noticed by the band director, who gave us a few minutes to look over our parts and then said, âAll right, letâs run through it up to section A.â
And here we are, cheerfully playing along, sounding reasonably competent â but everyone, when they have the attention to spare, is keeping an eye on the tuba players. They donât come in for the first eight measures or so, and then when they do come in, what we see is:
[stifled giggling]
[reeeeeeally deep breath]
[COLOSSAL FOGHORN NOISE]
The entire band stops dead, in the cacophonous kind of way that a band stops when it hasnât actually been cued to stop. The band director doesnât even say anything, just looks straight back at the tubas and makes a helpless sort of why gesture.
In unison, the tuba players defend themselves: âTHERE WERE FOUR FâS.â
FFFF is not really a rational dynamic marking for any instrument, but for the love of all that is holy why would you put it in a tuba part.
This is the best band postÂ
Everyone else go home
Oh man, so I play trombone, and we got this piece called Florentiner Marsch by Julius Fucik, and we saw this
which is 8 fortes. We were shocked until,
that is 24 fortes who the fuck does that
Who does that?
This guy. Take a good look - that is the moustache of a man with nothing to lose.
Julius IdontgivaFucik
More like Julius Fuckit
Pyrozodâs tags for this were too hilarious not to share
I havenât been in band for years but this made me laugh so hard
I havenât seen this post in ages and Iâm dying of laughter
I didnât think it could get better after The Foghorn Tuba Story, but it did. It got better. Bless you, MusicTumblr.
Laughing so hard I canât breathe!!!
Imagine playing the tuba and coming across a bunch of Fs with a bunch of tie notes. The lung capacity you would have to have.

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Writing Dialogue in Stories: Some Tips and Advice
Writing dialogue can be tricky, but I found that I got better as I wrote more conversations. Here are some tips and advice I learned through practice: Disclaimer: Like Iâve said before, there are no absolute rules for writing. What works for me may not work for you. Feel free to experiment.
1. Condense
If your characters are going to say something, then it should be worth saying. Your dialogue will be smoother if you read it over and cut out the filler. Remove the redundant things and condense. Sometimes itâs better to remove a line entirely and replace it with an action or a description.
2. Listen to people, talk to people
One way to learn how to write great dialogue is to listen to people in real life. Sometimes we donât realize that some phrases and lines that are often used in fiction might not actually be realistic(if youâre going for realism). Listening to people and talking to people help you understand the way conversations work. People can get distracted while they talk, they can let their emotions/state of mind affect their words, and they mix gestures and actions and expressions into their speech.
3. Read it out loud
This helps to fix the flow. Say the words, mouth the words. Judge whether or not a certain phrase would be a mouthful or if it would sound awkward.
4. Know that dialogue reveals character
The little details about people always manifest in their words. Sometimes people slip up or their wording hints at something without them realizing it. Let your characters take over. Know that even if theyâre putting on a mask in front of other people, sometimes that mask can fall. While you can reveal character through words, donât overdo it. Remember that the conversation should blend into the context. Sometimes using words that imply are more effective, and sometimes itâs better to have something dawn on the reader by using hints.
5. Know that dialogue reveals plot
Pick your words carefully. They can help you lead or mislead your reader. Again, donât overdo it. There are some cases where it would be better to reveal plot in other ways. Dumping information on a readerâs head might make the scene dull or boring to read.
6.Try putting emphasis on actions instead of using fancy dialogue tags
Iâm not going to be one of those people who says that all dialogue tags other than said are bad, but overusing different dialogue tags can slow down your reader if they have to consult a dictionary every few lines.Â
Personally, I like to replace dialogue tags with actions. It helps ground the conversation and keep the scene in motion. The subtle things like our expressions and our actions are just as important as our words, and it builds layers on the scene when you add that to your writing. Itâs likely that your characters arenât just bodiless voices speaking in a void, so pay attention to the setting and the objects around them.
7. Plan what you can
I like to plan important conversations by writing down lines that should be said. Still, remember that if youâre forcing your character to say something, then it could come off as awkward. There have been points where Iâve had to omit details that I planned because I knew that they wouldnât fit, and sometimes that happens because you have to accept that you canât fully control your characters.
8. Keep the setting of your world in mind
Build the world of the story through dialogue by asking yourself questions like: What expressions were popular at this time? Do the people in this world have concepts of deities and/or heaven?(we often use swears having to do with the people we venerate/religion we practice) What words are considered inappropriate? What class of society does the character belong to and what is their educational background? There are many more, but these could be a jumping off point. Know the culture and history of the world youâre writing in. Then integrate that culture and history.
9. Have fun with it
Dialogue is one of my favorite things to write, so enjoy writing it and your readers will enjoy it too.
I hope this helped you guys. Happy writing!
no offense but this is literally the most neurotypical thing i have ever seen
Uhhhh⌠no. This is what they teach you in therapy to deal with BPD and general depression. When I got out of the hospital after hurting myself a second time, I got put into intensive outpatient program for people being released from mental hospitals as a way to monitor and help transition them into getting them efficient long-term care. This is something they stressed, especially for people with general depression. When you want to stay at home and hide in your bed, forcing yourself to do the opposite is what is helpful. For me, who struggles with self harm- âI want to really slice my arm up. The opposite would be to put lotion on my skin (or whatever would be better, like drawing on my skin) the opposite is the better decision.â It doesnât always work because of course mental health isnât that easy, but this is part of whatâs called mindfulness (they say this all the time in therapy)
Being mindful of these is what puts you on the path to recovery. If youâre mindful, you are able to live in that moment and try your best to remember these better options.
I swear to god, I donât get why some people on this website straight up reject good recovery help like this because either they a)have never been in therapy so donât understand in context how to use these coping tactics. Or b)want to insist that all therapists and psych doctors are neurotypical and have zero idea what they are talking about. (Just so ya know, they teach this in DBT, the therapy used to help BPD. The psychologist who came up with DBT actually had BPD, soâŚ.a neurotypical women didnât come up with this.)
I have clinical OCD and for me, exposure therapyâa version of âdo the oppositeââhas been fundamental. Iâve had huge improvement in the last year, but Iâm 100% clear that if I hadnât done my best to follow this protocol Iâd be fucked. I have a lot of empathy for that moment when youâre just too tired to fight and you check the stove or you wash your hands or go back to the office at midnight to make sure the door is locked. But the kind of therapeutic approach outlined above has been crucial for me.Â
Itâs hard to do. Iâve weathered panic attacks trying to follow this protocol. But Iâve gotten remarkable results. I was afraid to touch the surfaces in my house, okay? I was afraid to touch my own feet, afraid to touch my parrotâdeliberately exposing myself to âcontaminationâ has helped me heal. I canât speak for people with other issues, but this has helped my anxiety and OCD.Â
I feel that tumblr, in an effort to be accepting of mental illness, has become anti-recovery. Having a mental illness does not make you a bad person. There is nothing morally wrong with having a mental illness anymore than more than thereâs something morally wrong with having the flu. However, if youâre âillâ physically or mentally, something is wrong in the sense that you are unwell and to alleviate that you should try to get better. While there is not âcureâ for mental illness, there are ways to get better.
There was a post on tumblr where someone with ADHD posted about how much you can get done when you focus and was attacked for posting about being ânuerotypicalâ - when she was posting about the relief she got from being on an medication to treat her illness.Â
I saw another post going around tumblr that said something along the line of âyou control your thoughts, why not choose to have happy thoughtsâ which again was shot down as ânuerotypicalâ but while you donât have control over what thoughts come into your mind, you absolutely can and should choose to have happy thoughts. In DBT we call this âpositive self talkâ.
Iâm in DBT to help treat PTSD stemming from child abuse. The abuse and abandonment I experienced destroyed my self esteem and created a lot of anxiety over upsetting other people. DBT has taught me to recognize when my thoughts are distorting realty âno one likes youâ and answer back âplenty of people like you, you donât need everyone to like you, especially if the relationship doesnât make you happyâ, to respond to the thought âIâm so worthlessâ with âyouâre really great and have accomplished somethingâÂ
And itâs not easy to challenge your thoughts, itâs a skill thatâs learned and itâs hard to force yourself to think something that doesnât seem authentic or even seems wrong to think - itâs hard to be encouraging towards yourself when you hate yourself - but you force yourself to be aware of your thoughts and push back when you fall into unhealthy patternsÂ
That isnât âso neurotypicalâ thatâs recovery.Â
Not shaming mental illness doesnât mean shaming RECOVERY.
Pro-Recovery isnât anti-disability.Â
Do not shame healthy behaviors as âneurotypicalâ.
Learning healthy behaviors and taking steps to treat mental illness and disorders including taking medication if thatâs what works for you is important. You shouldnât be ashamed if you have mental illness, but you shouldnât say âwell Iâm not neurotypical therefor I canât do anything to get betterâ - while there is no cure for mental illness, there is a lot you can do to get better, to function better, to manage your mental illness and be safer, happier, and healthier for it.Â