drama queen

He's never done it before. Everyone knows that specific spot is reserved for him. It is not official whatsoever, but everybody upholds the unspoken vow of never occupying it, emergencies excluded.

So when Whitaker sits down distractedly, completely missing (or ignoring) Robby's jacket clearly marking said spot as his, the whole staff is already waiting for Robby to see him and ask him to move.

And when Robby, who needs to check something quickly, finally notices, he does stop in his tracks. He does narrow his gaze, but the intensity with which he is studying Whitaker's figure doesn't appear quite as annoyance-fueled as they would've thought. Then he starts walking towards him, fast like one always is in the ER, and they all think, oh, there, here it comes.

dana instructing new med students:

"if dr robby is not in the mood and you need to ask him smth that will make him even more snappy please do us all a favour and take dr whitaker with you to soften the blow"

• one day some student comes up to robby alone, stuttering "dr. whitaker said he's busy but he told me to tell you to listen to my report and not be mean because I made a mistake"

• sometimes dennis waves the student off "yeah you go, I'll stand here where he can see me, don't worry I'm watching"

so he's just giving robby the look across the hall and a nod of encouragement to the student

it all clicks for the newbies one day

dennis pops up in the hospital on his day off (because robby forgot his keys) and suddenly robby (whos been bitching the whole day) smilies brightlly, greeting him with a "hey baby" and a peck on his lips

dennis murmurs "hi, here's your keys and I need you to fix your attitude a little cz I've been getting complains"

how big is the AVATAR fandom? reblog if you belong

how many of us are there before/after avatar fire and ash?

Y‘all i have a vision…

1. Slow down at emotionally important moments.

Big emotions need space to land. If a scene feels rushed, pause the plot briefly to show how the moment affects the character.

2. Add reactions, not explanations.

Instead of explaining what a character feels, show it through physical responses, hesitation, or small actions that reveal emotion naturally.

3. Ground every scene in the senses.

If a scene feels thin, add one or two sensory details—sound, texture, smell, or temperature—to make the moment feel lived-in.

4. Let thoughts interrupt action.

A line of internal thought can deepen a scene without slowing it too much. Thoughts show stakes, fear, longing, or conflict beneath the action.

5. Expand consequences, not events.

You don’t need more things to happen—you need to show what matters. Focus on how events change relationships, decisions, or self-perception.

6. Strengthen setting where emotion peaks.

The environment should echo or contrast the emotion of the scene. Setting is not decoration—it’s emotional reinforcement.

7. Add specific details instead of general ones.

Underwriting often relies on vague language. Swap “they argued” for one sharp line of dialogue or a specific breaking point.

8. Let dialogue breathe.

Short dialogue exchanges without pauses can feel flat. Add beats—silence, gestures, interruptions—to give the conversation weight.

9. Show transitions between scenes.

If scenes jump too quickly, readers feel disoriented. A brief transition helps establish time, mood, and emotional continuity.

10. Clarify stakes early in the scene.

If readers don’t know what can be lost, scenes feel empty. Make sure the character wants something specific and fears losing it.

11. Use the “what are they feeling right now?” check.

After each major beat, ask what emotion is dominant in that moment. If it’s missing on the page, the scene is likely underwritten.

12. Expand scenes that feel “too clean.”