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we're so back (not eating, not sleeping, the days are starting to blur again)

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Thank you Hwang In-ho and Seong Gi-hun
Thank you Keith and Lance
"Wait, you saw the night guard? [âŚ] No, thatâs just Freddyâ and "VolâŚtron?â Give off the same energy

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On writing sexual tension
⚠standing too close. like just barely not touching. why are their shoulders breathing on each other??
âš conversations that sound normal but feel like foreplay. âpass the saltâ has never been so loaded.
âš one of them says something flirty and the other freezes for 0.2 seconds like âoh.â
âš eyes dropping to lips and thenâback up. with effort.
âš holding eye contact just a little too long. like... are they gonna kiss or duel??
âš unintentional physical contact that lasts one second too long and now theyâre both broken
âš a hand on the small of the back. thatâs it. thatâs the tweet.
âš tension so thick that other characters start noticing like âhey are you two okay?â (they are not)
âš âaccidentalâ sleepovers. âoh no thereâs only one bed.â yeah. suuuure.
⚠biting back a smile. biting back a moan. biting anything really.
⚠one of them walks away and the other has to physically restrain themselves from watching the hips
âš lots of sighing. frustrated sighs. horny sighs. âi want to kiss you but Iâm emotionally unavailableâ sighs.
Huntr/x as the Trix
Additionally:
you know a joke that never EVER gets old is when a character says smth like âI will NOT go to [place] and that is FINALâ and then it cuts to them in that place I eat that shit up every single time
you never know what someone is going through. for instance i didnt know i was going through anything until about 2 years later. i thought i was just chilling

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GUIDE: NAMING A TOWN OR CITY
This post was originally from a FAQ, but since the original link is now defunct, I am re-posting it here.
There are many things to keep in mind when naming the town or city in your novel:
1) Genre/Theme/Tone
Itâs very important to consider the genre and theme of your story when choosing a town name. Take these names for example, each of which indicates the genre or theme of the story: Kingâs Landing (sounds fantastical) Cloud City (sounds futuristic) Silent Hill (sounds scary) Sweet Valley (sounds happy and upbeat) Bikini Bottom (sounds funny) Radiator Springs (sounds car-related) Halloween Town (sounds Halloween-related) Storybrooke (sounds fairytale-related) 2) Time/Place Itâs also important to consider the time and place where your story takes place. For example, you wouldnât use âVista Gulchâ as a name for a town in Victorian England. You probably wouldnât use it for a town in modern day North Carolina, either. Vista is a Spanish word and would normally be found in places where Spanish names are common, like Spain, Central and South America, the southwest United States (including southern California), Cuba, Puerto Rico, Dominican Republic, and Florida. 3) Size/Settlement Type An isolated town of 300 people probably wonât be Valley City, but a sprawling metropolis of 30 million could be called Windyville, because it could have started out as a small town and grew into a large city. 4) Geography Words like gulch, butte,and bayou tend to be regional terms. You probably wouldnât find Berleâs Bayou in Idaho, or Windy Butte in Rhode Island. Words like mount, cape, and valley are dependent upon terrain. Most of the time, you wonât have a town named âmountâ something unless there are hills or mountains nearby. You wouldnât use âcapeâ unless the town was on a cape, which requires a large body of water. 5) History Is there a historical person or event that your town might be named after? The Simpsonsâ hometown of Springfield is ironically named after its founder, Jebediah Springfield. Chattanooga, Tennessee is named after the Cherokee town that was there first. Nargothrond, in The Lord of the Rings, is an Elvish town with an Elvish name. 6) Combination of Words
person name + geographical term = Smithfield, Smith Creek
group name + geographical term = Pioneer Valley, Settlersâ Ridge
descriptive word + geographical term = Mystic Falls, Smoky Hill
person name + settlement type = Smithton, Claraville
landmark + settlement type = Bridgton, Beaconville
Word Lists
Types of Settlements
Geographical Features
Place Words
Common Suffixes
Other Descriptors
Some helpful, basic guidelines for developing a consistent or thematic approach to naming villages or towns or cities in fiction.
And never forget, you can change it later ⌠in fact, one can almost guarantee that the more village, town, or city names you come up with during the worldbuilding phase, the more likely youâll change one (or all) of them in due time.
before they decide on mcclain-kogane lance and keith argue over whose name they should take (both demand to take each otherâs obviously). eventually they realize that if they donât agree, theyâll end up as lance kogane and keith mcclain, entirely defeating the purpose of changing their last names while also being odd as FUCK. as they mull over their idiocy, keith tentatively suggests âMcKogane,â to which lance replies âthat is the most horrifying bastardization of both of our names possible.â thus they decide to hyphenate and to never tell their friends about what almost came to be
âWhat the fuck do you think youâre doing.â
Vaguely, Lance registers that heâs far too loud, that his dead-of-night shout has people peeking out their doors, rubbing groggy eyes. He knows he should tone it down and handle this gracefully and he meant to, thought about it in the hour or so he spent crouched but his door, waiting, straining his ears for the sound of Keithâs silent footsteps, convinced something would go down tonight.
Correct.
Keith jumps, duffel bag slipping off his shoulder and thumping as it hits the floor. He whirls around to meet Lanceâs eyes and the shock melts quickly into stubbornness, into something defensive and irritated.
âGo back to bed, Lance,â he says evenly, and Lance envisions punching him. Lance envisions gripping the sleeve of his jacket and holding him in place. Both visions fight for standing ground in his mind, blurring into each other. His fists curl at his sides and he has to hold himself back, physically, root himself in place.
He thinks about saying, I know youâre afraid.
He thinks about saying, you will always have a place here.
He thinks about saying, please donât leave me.
He says, âYouâre running,â and it comes out sharp and accusatory, and there is a hiss from somewhere beside them, quick inhale through the teeth, but the world feels narrow, blurry around the edges, and Keith is the only one in focus, the only one Lance can see.
Keithâs face drops into something menacing, something as flat as it is furious, something familiar and almost comforting.
âCoward,â Lance spits before he can say anything. The cruelty of the words leaves a bitter taste in his mouth and he relishes in it, sucking it off his teeth.
He watches as Keithâs shoulders shift, an aborted lunge, as his chest inhales and exhales with a measured and practice breath. Watches as he calms himself, visibly, yanks himself back from the edge. Lance prepares to yank him right the hell back.
(Anything to keep him from going. To distract him, enrage him, occupy him.)
(Anything to make him stay.)
âYou donât know a goddamn thing about me,â Keith says, angry and short, less fiery than Lance expected, more controlled than heâs ever seen.
Lance panics. Keith tears his eyes away and bends down, wrapping his hand around the forgotten duffel bag strap, swinging it back over his shoulder. He turns and walks â stomps â away, heading down the hall, towards the hangars. Leaving.
Lance loses control of his mouth. A sound fights its way out of his throat, something croaking and furious and desperate, and like a cork shooting off a champagne bottle there is nothing he can do to stop what comes next.
âYour voice cracks when you lie.â
The anger has practically fled from his voice. In its place is pleading, begging, vulnerable. He chokes it back and tries to swallow and it does nothing, it bubbles out of him, spilling down his face and dripping onto the floor and soaking his bare feet, the ankles of his silk pajama pants. It comes all the way back up to his neck and chokes him, instead.
Keith freezes.
The champagne keeps bubbling.
âYou â duck your head when you smile. And when youâre confident you snap your fingers on your left hand. When you read you mouth along to the words, except when you get really into a book, which is always, and then you stop. You always end up hiccuping after you eat because you fucking â hoover them back, you animal.â
Lance sniffles. The lump in his throat gets harder and harder to speak around, but the urge didnât go away, the intense need to spill his guts, to slice himself open and spill at the ground by Keithâs feet.
Stay. Stay. Stay.
âYouâre not as elusive as you think, you fucker.â
He forces himself to stop, then, bites his tongue until he tastes blood, until the words stop flowing. He inhales big and long and holds it, lets the air go stale in his lungs, lets his heart start to pound.
âI want to go,â Keith says, back still turned.
His voice cracks on âwantâ.
Lance gasps an exhale. âYouâre a fucking liar.â
Keithâs turn is slow, and Lance canât help but think itâs on purpose. To torture him, to test him. To say I donât believe you. To say when I turn back youâre going to break character.
Itâs heartbreaking, a little. And the heartbreak is written all over Lanceâs face, and he watches as Keith sees it.
âYou saw the problem first,â Keith argues, weakly. Lance hears what he doesnât say: Iâm leaving or else youâll have to.
And Lance knows he was the one to go to Keith with his pinky finger extended and wide worried eyes. He knows he was the one who planted the idea of leaving in Keithâs head, never meaning for him to be the one to go but expecting him to try anyway. He knows heâs the one whoâs standing here, in the middle of the hallway, arguing around the subject, half-conscious of his friendsâ stares, their acknowledgment that more is being said than just their words.
And Lance shoves that all back, and says: âI told you Iâd be your Red.â
Paladin. Your Red Paladin. But the words donât come all the way out.
Keith swallows. âI know.â
âI wonât be anyone elseâs.â
ââŚI know.â
Lanceâs hands shake. âSo you canât leave me, you motherfucker.â
The duffel drops to the floor again. This time itâs intentional. This time itâs shoved off Keithâs shoulders.
He takes three great strides forward, grasping Lanceâs face in his perpetually burning hands, and shoves their lips together, bruising.
âIf I leave then the math checks out,â he whispers, pulling back, eyes closed, breathing heavy. His forehead is pressed to Lanceâs like he can beam his thoughts into his brain.
Lance sighs. âIf you leave Iâll follow.â His eyes flutter shut. âYou goddamn suck at math.â
Keith snorts. âA little.â
âStop trying to fix my problems without me.â
âItâs â I want to. Fix your problems.â
âI want you here.â
ââŚOkay.â
âPromise me, Keith.â
âOkay,â Keith says again, quieter. âIâll stay, Red.â He kisses Lance again and this time itâs soft, loving instead of desperate. âIâll stay.â
âââ
animatic by @jiveyuncle
reblog if youâre a sick fuck
after you become intimate, caleb gets regular manicures.Â
heâs never paid his callused hands much attention before, but if his long fingers are going to be inside you, theyâll be as soft and smooth as possibleâheâs not taking any chances.Â
for a whole night, he does his research, dutifully sifting through customer reviews and testimonials until he finds the best option.Â
his hulking frame is out of place in the quaint pastel salon, but all the nail techs love himâpartly because he pays full price despite only ever getting his left hand done, but mostly from the way his eyes light up when he talks about you.

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i want to talk about my ocs but im literally this image. i got nothing
sigh.. they're everywhere