Welcome to the Gallery

Celine in a fancy photoshoot

(was asked to put my Bluesky thread on tumblr)

Just because of some stuff I saw yesterday: if you are a minor online, please do not openly identify yourself as such. It is not safe, it allows adults who want to interact with minors for bad purposes to know you are one.

There are different, safer ways to accomplish your goals than to do that.

You do not need to identify yourself publicly as a minor online to:

Ask that people respect your boundaries

Not create or interact with adult material

Not be a victim of harassment

Not give away personal information

All these are normal things anyone of any age can do online.

If you are being invited into spaces you don't want to be in as a minor, or which people have asked you not to be in as a minor, decline for any or no reason. If an adult wants to do something with you they should not with a minor, decline for any or no reason. If people do not accept that, they are not people you should be interacting with. Don't pretend to be an adult, just don't say you aren't.

I understand that recently, more people under 18 tend to say that they are under 18 to protect themselves online. People who are not dangerous don't need that information. People who are dangerous will gladly use it because they know you are vulnerable. You are not protecting yourself.

As an adult who doesn't really care to interact with minors, I probably won't interact a lot with you if you are "young." That's not hard to catch from the way people act online. If you are "young" I care about you being safe and not victimized by opportunists, regardless of your birth year.

Protect your identity and safety on the internet, and if you are a person who is vulnerable, be a mysterious figure. Make silly posts. Complain about "people you know." Complain about "living with your parents."

👧 🇰🇷🎤💜🐯

👹🪞🥺🖤🐥🐤?

Something about Zoey and Rumi and Sarang? Hmmm well

About a six months after Sarang comes to live with them, Zoey goes to her mom’s for Christmas. It’s not her favorite thing to do, but she likes hanging out with her half-siblings and it’s good to keep up with family, and she’s put it off long enough that even having Sarang won’t really make her mom accept that she’s not coming without a major guilt trip

It’s the first time one of Sarang’s family has left for any significant time, and it’s weird as fuck

After about three days of watching her pout around the penthouse, Rumi shows up in her bedroom with a notebook and a plan—after all, Zoey isn’t here to do it—and she gets Sarang to talk out all of her feelings about how much she misses her unnie and cares about her and hopes she’s having a good trip

And then she writes that all into a message and translates it into English and helps Sarang learn how to say it so they can send a video to Zoey’s family

Zoey treasures it, of course

(Her mom immediately decides that Sarang reminds her of her younger self, reciting English words phonetically like that, and sends Zoey back with extra presents just for her)

Drops this and runs

Oh I forgot I hadn't shared those on here yet! I made a compilation of all the other ones but not this guy's! oops!

Shadowsan:

Dr. Saira Bellum:

Professor Maelstrom:

Coach Brunt:

Countess Cleo:

The sources for some of these are lost unfortunately, most of Coach Brunt's classroom is by Johel Rivera, a bit of Brunt's + Bellum's is by Heejin Park!

I'm going to try it.

First, let me preface this with something very important: you can treat all of this advice as SECOND-DRAFT ADVICE. It is so much easier to rewrite this kind of stuff once you have words on the page. Telling yourself the first draft is totally appropriate and acceptable.

What we’re talking about here are FILTER WORDS (and to some degree verbs of being). Yes, “thought” words are included. But so are “heard, saw, looked, tasted, smelled” etc.—most words having to do with the senses.

This isn’t black and white advice; sometimes you’ll use these words and that’s okay. They’re not WRONG. They’re just weaker. And they’re weaker because they create distance between the reader and the experience of the character.*

If you want your reader to feel like they’re experiencing the story right alongside the character, you want to cut down on filter words.

*This is particularly important with first person and close third POVs. The reader always knows whose eyes they’re seeing through and thoughts they’re privy to. So you don’t need to tell them “I saw X.” Or “I heard X.” Or “I thought Y.” You can just jump into the action/observation as it’s happening.

This is also where you want to pay attention to verbs of being.

you want to pay attention

to verbs of being.

That means that when you read a line like

John saw that the curtains were open.

It immediately takes you OUT of the character's perspective and instead tells you what they experience as a secondhand observation.

You don't have to get fancy or purple with how you rephrase things like this. Not everything needs a ton of breathing room.

You wanna know what's perfectly impactful while keeping a tight POV?

The curtains were open.

Some of this, yes, is about POV distance--but some of it is also about the information being conveyed by the sentence. If you are using a sentence like "John saw that the windows were open" it should be because the information you are seeking to convey is that John saw it.

Maybe this matters because the next time John looks back they are closed, and so he's doubting what he saw. Maybe it matters because he later has to recount information about the room he was in, and it's notable that he specifically saw that the windows were open. The fact and method of his observation is part of the point of the sentence, rather than simply the observation itself.

When we are using sense verbs, it should be because part of the point is the sense. Same with "thought", "felt", etc.: "Mary thought that Susan looked a little thin" is telling us a different piece of information than "Susan looked a little thin."

Contrarily, at least in my opinion, simple telling phrasing like "It was rainy" can sometimes bring us more into a character's head than something showing like "The rain howled like an injured animal." I have read books when a relatively plain-spoken/plain-thinking character suddenly starts having elaborate descriptions of things like scenery or weather, and it is abundantly clear that the author wanted to spruce up their writing and avoid "telling." The problem is that it drags me as the reader out of the character's head and shows me where all of the strings are. I'm suddenly thinking about how the author is worried about being yelled at for "telling" instead of just reading the story.