the boys are back

Summary: A boy born of the moon, a girl cursed with a cruel past, and a bowstring between them.

Word Count: 1,607

-

He let go. The string released the held tension. The arrow pierced through the air, until it struck dead center of the bullseye, joining the eight others adorning it.

Kubo breathed, satisfied. He lowered his bow, releasing the tension in his arms and shoulders, as he exhaled. His aim stayed true today.

Light clapping came from the side. Nearby, a pale, dark-haired girl was seated on the steps of a storage hut, smiling from ear to ear – the source of the clapping. Kubo couldn’t stop himself from rubbing the back of his neck. At least his cheeks weren’t warming up again.

“I already said, no need to clap everytime, Aggie,” he said, tacitly smiling.

“I know. It’s impressive everytime,” Aggie innocently answered.

Kubo couldn’t follow up with anything but a blush. The village had only recently stopped the unnecessary and incessant hero worship of him after his defeat of the Moon King, and then came Agatha, a strange girl from a far off land, wandering through in the midst of an inexplicable fog, bringing back all that attention with her. It never ceased being equal parts flattering and embarassing.

Although, if he was being honest, if he had to receive any kind of undue attention from anyone, he’d much prefer it to be from Aggie. Rather than overwhelming or overbearing, hers was a gentle kind. Slighty pushy and insistent at times, perhaps, but overall lifting, rather than pressuring.

And just as Kubo started loosening the bowstrings, he finally noticed how Aggie’s eyes lingered on the bow, the curious glint in them.

Headcanon:

• Kieran is deadly afraid of horror media, whether it is horror movies or horror videogames, he hates them. Even the dullest of jumpscares is enough to freeze him from fear. But of course, he refuses to admit it.

• When Drayton found out Kieran has never owned a rotomphone and, therefore, had little to no knowledge of internet culture, he had the funniest idea for a classic prank. "He needs to be humbled one way or the other".

This is kinda winnie portley rind if yuo think about it

Norman and Aggie just hanging out together :]

Maybe somewhere in an alternate universe, Aggie finds out about fireflies, and it becomes her new favorite bug (her second favorite is butterflies)

1. “Who wrote this masterpiece?! It was ME?!”

These are some lowkey underrated tips I’ve seen floating around writing communities — the kind that don’t get flashy attention but seriously changed how I write.

1. Put “he/she/they” at the start of the sentence less often.

Try switching up your sentence rhythm. Instead of

“She walked to the window,”

try

“The window creaked open under her touch.”

Keeps it fresh and stops the paragraph from sounding like a checklist.

2. Don’t describe everything — describe what matters.

Instead of listing every detail in a room, pick 2–3 objects that say something.

“A half-drunk mug of tea and a knife on the table”

sets a way stronger tone than

“There was a wooden table, two chairs, and a shelf.”

3. Use beats instead of dialogue tags sometimes.

Instead of:

"I'm fine," she said.

Try:

"I'm fine." She wiped her hands on her skirt.

It helps shows emotion, and movement.

4. Write your first draft like no one will ever read it.

No pressure. No perfection. Just vibes. The point of draft one is to exist. Let it be messy and weird — future you will thank you for at least something to edit.

5. When stuck, ask: “What’s the most fun thing that could happen next?”

Not logical. Not realistic. FUN. It doesn’t have to stay — but chasing excitement can blast through writer’s block and give you ideas you actually want to write.

You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”

We don’t know them.

We’ve just met their tropes.

Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.

So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.

1. Hair: It’s About Story, Texture, and Care

Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?

Good hair description considers:

Texture (fine, coiled, wiry, limp, soft)

Context (windblown, sweat-damp, scorched by bleach)

Emotion (does she twist it when nervous? Is he ashamed of losing it?)

Flat: “Her long brown hair framed her face.”

Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”

You don’t need to romanticise it. You need to make it feel real.

2. Eyes: Less Color, More Connection

We get it: her eyes are violet. Cool. But that doesn’t tell us much.

Instead of focusing solely on eye color, think about:

What the eyes do (do they dart, linger, harden?)

What others feel under them (seen, judged, safe?)

The surrounding features (dark circles, crow’s feet, smudged mascara)

Flat: “His piercing blue eyes locked on hers.”

Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”

You’re not describing a passport photo. You’re describing what it feels like to be seen by them.

3. Facial Features: Use Contrast and Texture

Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.

Things to look for:

Asymmetry and character (a crooked nose, a scar)

Expression patterns (smiling without the eyes, habitual frowns)

Evidence of lifestyle (laugh lines, sun spots, stress acne)

Flat: “She had a delicate face.”

Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”

Let the face be a map of experience.

4. Bodies: Movement > Measurement

Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?

Ask:

What do others notice first? (a presence, a posture, a sound?)

How does their body express emotion? (do they go rigid, fold inwards, puff up?)

Flat: “He was tall and muscular.”

Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”

Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.

5. Let Emotion Tint the Lens

Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.

In love: The chipped tooth becomes charming.

In rivalry: The smirk becomes smug.

In mourning: The face becomes blurred with memory.

Same person. Different lens. Different description.

6. Specificity is Your Superpower

Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.

Examples:

“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”

“Her nail polish was always chipped, but never accidentally.”

Make the reader feel like they’re the only one close enough to notice.

Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.

is an Autumn flavour, ITS

THE MIDDLE OF JUNE

My pathetic bisexual king...... I NEED MISSING LINK CRUMBS....