writers really will spend twenty minutes pacing around the kitchen thinking âthis scene is geniusâ and then sit down to type and suddenly remember approximately three words and one emotional vibe

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@crowswritetoo
writers really will spend twenty minutes pacing around the kitchen thinking âthis scene is geniusâ and then sit down to type and suddenly remember approximately three words and one emotional vibe

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Random worldbuilding: there's a region in the country with a strong culture of offering homecooked dishes as gifts for all occasion. And over time, they have accumulated an entire category of dishware that aren't any particular individual's property - they are constantly in rotation, being gifted and re-gifted as the dish holding a pie, a casserole, loaf of bread, the list goes on. Once a gift dish is in your possession, you need to make something in it as a gift in return - not necessarily to the one you received it from, but to someone nonetheless.
They're called lovers' dishes, but not for any romantic reasons. The name was adopted after people started deeming the previous name, courtesan bowls, inappropriate. The term courtesan bowl was also a slightly more cleaned-up term replacing a previous one, as the dishware were originally known as slut cups. As they, you understand, they get around.
I firmly believe this should be a thing.
Make food for people. Give it to them and ask them to pass on the container with food to someone else.
Bonus points if it's chili.
I'd be tempted to make this a thing myself. Compose a little poem that instructs the reader to do exactly that - get the dish as a gift, give the dish as a gift, keep it in rotation, don't leave it on your shelf <3 - and get some oven dishes from goodwill or something, have them professionally engraved (do they do that? is that a thing you can do?) and then put them into rotation. The dishes I cook are dogshit at best but I want them into rotation.
I am stealing this so hard, it seems so violently Midwest but would fit in any medieval setting
I think I would love to have a list of all the things that fit that category. Seems violently midwest but would fit in any medieval setting. I'm 100% sure that it would be absurdly long and I would love reading it.
as a rule it's always more interesting when two people who know each other outlive a third person that they both loved and then their relationship becomes So Much Weirder and more emotionally fraught, entangled, and charged when that third person dies
I'll always talk up internet radio stations because I don't think the average person is aware that they're free, can run in your browser (or in any program that can connect to them), work on your phone, run better than a youtube tab, and give you a much better selection of music than you could get from a general algorithmic playlist
(also lots of them have live shows which you can tune into for free)
"oughh I follow this blog for weeb stuff not internet radio promo" here. gensokyo radio.
oh and also I have to plug yggdrasil. it's cute.
if u like folk and/or roots music: wumb.org !!! it is AD-FREE it has ZERO MORNING TALK SHOWS it is on air at 91.9 FM in the BOSTON AREA but streams WORLDWIDE on the WEB it is perfect.
big fan of soma.fm's selection, dozens of themed stations covering ambient, jazz, soul, punk, and a lot of electronica
Also if you search for student radio stations at almost any university you can listen to all sorts of crazy stuff for free!
Maybe niche but for any Irish speakers or learners out there, Radio na Gaeltachta streams online and is a great way to listen to some Gaeilge without YouTube.
All of these resources are fantastic, but I wanna give a specific shoutout to RaidiĂł na Gaeltachta streaming online - and I say this as a person who works in Irish-language visual media - if you wanna gainna better grasp of spoken Irish and how the language is used in casual settings, RaidiĂł na Gaeltachta is the way to go, not visual media đŹđťđ
I recommend Radio Garden! It has an interactive map of internet radio stations. It's a lot of fun to explore radio stations from all over.
Explore live radio by rotating the globe.
got a phone that runs android? get yerself radiodroid.
Morgan Freeman had his first breakout roles in his 50s. Leonard Cohen debuted at 33. Toni Morrison published her first novel at 39. Vera Wang entered fashion design at 40. Penelope Fitzgerald published her first novel at 58. Louise Gluck won her Nobel prize at age 77. Edward Said wrote Orientalism at age 42. Charles Bradley debuted with his first album at 62. Those people are literal legends, and no one would think they arrived late. They just arrived when they were ready. You have time to do the thing. You have time to hone your craft on the thing and create something you are truly proud of. You have time

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the most annoying people are people who don't understand storytelling. they be like "oooo how convenient that this thing happened to the main character in the very beginning". yeah no shit. that's why the story begins here
I'm sorry but "plot armor" is the stupidest fucking concept. "He should have died" honey there are people who survived skydiving accidents. Have you never been party to a tragedy? The old alcoholic survives the accident and the promising teen is killed instantly? "It's unrealistic that this character survived while the other characters died" shit that is about the most realistic thing there is. Ask anybody with survivors guilt. "Of course this character lived until the end" yeah that's a thing that happens. Some people live, and other people die. Stories are made up. Which part of this is unclear?
something i find really interesting about (some) people who don't write is the way they'll elevate plot over execution? it's the way you'll sometimes see people who think they have a best-selling book idea, and they want someone to write it for them while thinking they should get the lion's share of the imaginary profits, because it's their idea. and don't get me wrong, ideas are important! plots are important!
but there are so many stories i've read over the years that could be summarized into a few sentences of bland-sounding plot, and it's the execution that matters. it's the writing. it's the writing!
a talented writer can turn a bland plot into a story you want to devour. and someone who only cares about ideas can take the most interesting idea ever conceived and make it unreadable/unwatchable.
like it does feel like there are a Lot of people in this world who don't view writing as a skill that deserves respect, and who think that really it's all about coming up with shiny ideas. and it does feel like that's uhhh infected a LOT of different things in the modern world. tbh.
[encountering a new mlm ship] right. and which one would die in childbirth and which one would be the alcoholic widower who inflicts lifelong trauma on their child due to their rageful and all-encompassing grief?
What it looks like to me is that these churns of outrage aren't actually about anything that these creators say or do, so much as they are a kind of reflexive action in response to literally any kind of friction. Like an angry infected rash flaring up with pain when it is brushed by a feather.
The show you like is telling a slightly different story than what you want? Friction is the same as pain so it is hurting me, AAAA!!! Your expectation of what was going to happen to that character you liked didn't pan out? Friction! Friction hurts! You're hurting me!!
But where the Disney Corporation can run a fucking angle grinder across the rash and barely provoke an "ow," indie creators (especially if they are not men), can get nearly run off the internet for things like factually answering a direct question or stating that the story they are writing has main characters.
There's a lot of misogyny in that, obviously, and in many awful flavors, but I think there's also mixed in there a very peculiar kind of consumer-brained entitlement. We expect that the big corporations will fuck us over every two seconds, and we expect to be utterly powerless to do anything about it because all they give a shit about is Line Go Up, but indie creators (especially if they are not men) are expected to be the balm to that infected rash. Where everything else in the world is painful and mean and uncomfortable, independent queer creators are expected to produce the comfortable swaddling bandage that dulls the pain and soothes the sensitivity. This is supposed to be our happy place, our safe place. It's supposed to be ours and belong to us and serve us.
And so they moment they produce friction, any friction, literally the tiniest amount of friction imaginable, well that's a failure! You are failing to live up to your purpose, and that's not just a creative failure but a moral and personal and spiritual failure too. It's a sin, in fact, it is a kind of evil. Friction hurts, and that means you are hurting me!
It creates this fucked up upside-down bizarro logic wherein the corpos and the companies can transgress to almost literally any degree, as much as they want, as often as they want, but queer independent creators (and I cannot stress this enough: especially if they are not men) have to walk tightrope on a razor wire and may God help their souls if they ever put a foot wrong. We will shake and shake and shake the towers until they each fall down; I didn't like that step I think you were taking, how dare you believe you deserve to be up there!
hey did you know that uhh
i. the monster's body is a cultural body
ii. the monster always escapes
iii. the monster is the harbinger of category crisis
iv. the monster dwells at the gates of difference
v. the monster polices the borders of the possible
vi. fear of the monster is really a kind of desire
vii. the monster stands at the threshold⌠of becoming
oh shit i didn't expect this to actually get notes lmao
these are all direct quotes from jeffrey jerome cohen's "monster culture (seven theses)" (full pdf linked) i highly encourage you to read it yourself!
that said, while i think cohen's writing is evocative, it can be a little dense, so while i'm here, here's my capsule summary (you can also hear me talk about this in the first episode of my podcast) (listen to @ghostswerepeopletoo)
i. the monster's body is a cultural body - The monster is a work of fiction to be analyzed through tools of literary and sociological theory.
ii. the monster always escapes - As long as the cultural fear from which the monster stems persists, the monster will reappear in retellings, reimaginings, and sequels.
iii. the monster is the harbinger of category crisis - Monsters defy binaries and challenge easy comprehension or categorization.
iv. the monster dwells at the gates of difference - The monster represents the Other.
v. the monster polices the borders of the possible - Tales of the monster exist to discourage unacceptable or taboo behaviors.
vi. fear of the monster is really a kind of desire - Subjects can vicariously participate in the disruption of the social order through the monster.
vii. the monster stands at the threshold⌠of becoming - Within the monster we find information about the self.

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takes you by the hand. please please please if you're stuck on your WIP or you can't figure out how to progress the scene PLEASE skip ahead. skip a few lines ahead. skip until the next Thing you can think of happens. skip to it skip to it skip to it. you may uncover what you were missing in the midst of your next scenes and you may discover that just transitioning straight to Next Part works flawlessly. skip it. don't sink. skip.
Then, if you discover that you are instead floundering in the next scene, or donât feel any less stuck trying to write other parts of the story, you have a few options.
1) Sleep on it. Spin your blorbos around in your skull as you go to sleep and hope that your subconscious prompts you to put together elements in a new way or ask a question you hadnât considered.
2) Go full planner mode.
a) Establish what the scene needs to accomplish. What information the reader can learn that they havenât but might need, what the characters need to know and do for later plot points to make sense.
b) Think of the scene as a short story. What is the conflict of the scene? What obstacles contribute to that conflict, and how does it resolve? What future conflicts (scenes) does this solution or resolution create?
3) Pick a New Guy. Rewrite, or even just mentally narrate the scene from a different characterâs perspective. You can pick up their story a little earlier than gets shown in the natural POV to better understand what that character is trying to do in the scene, and hopefully giving you some new Things that might happen at the point where youâre stuck.
4) Duck friend. Tell someone about the problem. No writer friends? Send me an ask (or a huge number of other writeblrs, weâre here instead of locked in our rooms for a reason). Even if you donât send the ask, articulating your problems often leads you to the solution.
Reminder to self: A file folder of outlines and character notes and half-written scenes is the equivalent of an artistâs sketchbook and holds just as much value to the creative process.
If a framed canvas isnât the only worthwhile expression of visual art, then a fully edited and polished piece of significant length is not the only worthwhile expression of writing.
Iâve been obsessed with this for like 20 straight hours now
So if anyone is curious this is more or less true. (Except he didnât say âeffeminate boysâ he said the six-letter f word, because of course.)Â Â https://www.theguardian.com/film/2016/jan/16/what-orson-welles-really-thought-about-ernest-hemingway
But the funny thing is, this happened when Orson Welles was 22 (before he made any of his films) so this dumb-ass piece of shit:
decided to get into it with this 38 year old established American writer and war veteran:
Like, dude. He really was just like that.
Orson Wells was fully convinced he could fight god and nothing that ever happened in his life couldâve convinced him otherwise
The rookie mistake in fiction writing is assuming that short stories will be easier to write than novels because they're smaller. No. This is the equivalent to thinking that it's easier to make a pocket watch than grandfather clock. Short stories are complex engineering problems.
You need to find a way to pack all of the things that a story needs into a tiny like box without it overheating.
people talk about and excerpt the smutty passages from like romantasy booktok hits or whatever and sometimes it's to be "lol look at this embarrassing porn" and other times it's like a self-serious lit person being like "well certainly one can infer that the books' explicit erotic content is much of their appeal đ§" but nobody is willing to do the real work of like actually discussing why these scenes are bad at being pornography and not sexy or titillating at all. i mean i guess clearly they are successfully this for probably literally millions of people so that's not quite the right phrasing. but it's like the reason i don't read this stuff isn't because it was written to be jerkoff material it's because it's lousy jerkoff material. and it's lousy jerkoff material in ways i actually think are somewhat interesting to discuss from a craft perspective such as an abundance of cliche and a tendency for individual character dynamics to disappear once the fucking starts and an overreliance on banal physical description of insert tab A into slot B. but nobody is ready for this conversation because either they think it's embarrassing or morally wrong that romantasy jerkoff material exists or because they have extremely low literary standards for jerkoff material. everybody on earth it seems falls into one of these two categories except, of course, Me And My Mutuals

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living in a small town is like. you cannot park within 4 blocks of the post office because the town only has on-street parking. you awkwardly wave to everyone in the grocery store because they all recognize you. you live vicariously through social media because there is nothing to do other than hiking within 300 miles. going to a slightly bigger town two hours away once every three months to go to Costco is the most exciting part of your life. you've walked most of the dogs you see out and about. people ask you about church gossip while you're on the clock at work. there is not a single job in the town that pays enough for you or anyone else to save money and move away.
huge fan of ship dynamics where person a does not know how desired they are and person b is about to pop a blood vessel about it