I think about this like once a day
I have heard a variant on it that I really like: "You cannot hate yourself into someone you can love."
will byers stan first human second


titsay

oozey mess

Janaina Medeiros

Love Begins
hello vonnie
Jules of Nature
One Nice Bug Per Day

Origami Around
dirt enthusiast
Three Goblin Art
sheepfilms

JVL
Lint Roller? I Barely Know Her

@theartofmadeline

he wasn't even looking at me and he found me
Aqua Utopia|海の底で記憶を紡ぐ
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@magic-miraculous
I think about this like once a day
I have heard a variant on it that I really like: "You cannot hate yourself into someone you can love."

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I don't need the chatgpt random algorithm to write emails for me because I already have a custom and 100% flawless algorithm called "writing the exact same three emails with the names changed"
#1: "hi [landlord], hope you're doing well! [apartment thing] is [broken/a problem]. we need it [fixed/replaced/handled] by [date]. let us know when you'll send someone over so we can be here to let them in. thanks so much, [op]"
#2: "hi [professor], hope you're doing well! unfortunately, I'm [sick/stuck at work/dead] and won't be able to submit [assignment] by [due date]. could I please have an extension? if not, is there anything else I could do to make up this credit? thanks so much, [op]"
#3: "hi [customer service person], hope you're doing well! unfortunately, [product] [didn't arrive/is broken/wrong color/gave me a rash/poisoned my crops] and I'd like to receive a [refund/replacement]. here is the documentation of the order and photos of [broken thing/wrong thing/my rash/dead crops]. thanks so much, [op]"
"but op I work in an office I have to write way more emails than you" well that's your fault for working in an office i got nothing to do with that
Writing an email is so easy and I will tell you how it's done. This is the advice is for everyone with an email job, but you can apply it to normal human interaction.
The FIRST SENTENCE is the thing you want the recipient to do. Do not make them guess.
I want to let you know about ... (This email is to inform someone of something not to ask them to do anything)
Could you please do ... (This is a request. You want them to do something).
I'm looking into x and wondering if you can help me (this is also a request but for information instead of an action).
People do not want to read an email and even if they do read it, most people are skimming and not interested. Tell them what you want first, then provide context or other information (when you need a thing is often key). If the email is informational, you can even add "you don't need to do anything, this is just to keep you informed!" People will appreciate not having to figure out what you want from them.
If you can't articulate what you want the recipient to do with the message, you are not ready to email them. I read too many emails where I have no idea what the person wants from me.
Put the most important thing first and everyone will be impressed! AI cannot do this for you because it can't tell what's important! Only you know that, which is why you must write your own emails.
to everyone who wants help with emails: go through the notes of this post. there are ideas I've never thought of and plenty of scripts for all kinds of situations/jobs
Recovering from autistic burnout as a high-masking adult:
To recover, you literally need to manually learn skills that most people learn as a toddler
You need to learn what makes your body uncomfortable, and what to do to fix it
If you are high-masking, that usually means that you have learned to ignore every distress signal your body sends unless it is a distress signal that a neurotypical person would recognize. People have likely been unintentionally gaslighting you about your lived experience your entire life
If you feel bad or panicked for no reason, stop and try to pay attention to your body. Are you tense? You are likely feeling physical pain somewhere. If you've been gaslit about your pain your entire life, you might not be able to identify it.
Go through a sensory checklist.
SIGHT: Try closing and covering your eyes. If this gives you relief, the lights are probably too bright. You may also need differently-colored lights
SOUND: Cover your ears. Does this give you relief? If so, you may need earplugs or noise canceling headphones. You may also benefit from a neutral or pleasant background noise, like soft music or brown noise.
TOUCH: Are your clothes uncomfortable? Your chair? Your body? Do you feel greasy, like you need a shower? Do you need softer, sensory-friendly clothing?
TASTE: Do you need to brush your teeth or tongue? Would chewing on something help?
SMELL: Is there a strong or unpleasant smell in the room? Do you need to clean or empty a trash can? Would an air purifier help? Would a pleasant smell like a candle help?
INTEROCEPTION: Are you hungry? Thirsty? Tired? How is your posture? Are any of your muscles tight or sore? Scan your body slowly from head to feet, tensing and loosening each group of muscles. Going for a walk or doing a series of quick stretches may help a lot.
Learning how to do this stuff is not intuitive, if you've had an entire lifetime of gaslighting telling you that everything hurting you isn't a big deal and you're being dramatic over nothing.
This takes time, it takes work, it's not intuitive, and it's hard. Most people forget how hard it is, because they learned this as toddlers.
If you want to recover, you need to relearn your whole body. And get over your idea of "normal" and just wear the damn sunglasses and put on the headphones. If people stare, fuck em. You're disabled and they can deal with that.
Underused Ways to Show Two Characters Have History
Everyone writes: “We’ve known each other for years!"
But we can do better than that—let's make things actually interesting.
Here are some quick tips for writing two characters with history (without saying, "we've known each for years"):
• They reach for the same object at the same time without looking
• One of them uses a nickname no one else is allowed to use
• They start arguing mid-conversation like the first half already happened
• They move closer when the other looks uncomfortable
• One of them says, “Don’t start,” before the other has said anything
• They know exactly which buttons to press (and press them immediately)
• They unconsciously drift toward each other in crowded spaces
• They anticipate each other’s reactions before they happen
• One quietly moves something (a drink, weapon, chair) because they know the other will reach for it
• Someone might say something, and the other immediately responds with: “You’re still doing that?”
• They suppress laughter at the same time over something no one else noticed
• One character still treats the other based on who they used to be
• A certain place, smell, or song causes them to exchange a look
• Their arguments sound rehearsed, like they’ve had them before
• They touch each other casually without asking (fixing clothing, nudging, taking something from their hand)
• They stand closer than strangers normally would
• They borrow items from each other
• They bring up something embarrassing from ten years ago
• They sit in silence together and it’s either very comfortable or extremely tense
• One of them automatically orders the other’s drink
• They interrupt each other and still somehow finish the same sentence
• One starts a story and the other finishes it automatically
• They argue about the details of shared memories
• They mention people or events without explaining them
• A simple phrase or nickname triggers an entire inside joke
• They notice tiny things about each other no one else would catch
Real history sounds like unfinished conversations, old habits, and arguments that never really ended. When you show shared history (instead of telling) your characters seem that much more alive and believable.
On a similar note: Not all shared history is comfortable. Sometimes shared history means unresolved tension or an old rivalry:
• They refer to something only as “that” or “before.”
• Someone says “You know why.” without explaining further
• Standing slightly farther apart than expected
• Fingers drumming or fidgeting when they’re forced to talk
• Avoiding eye contact for just a second too long.
• A small disagreement suddenly becomes heated.
• One character reacts sharply to something that shouldn’t matter anymore.
• A casual comment triggers silence or defensiveness.
• One character starts explaining themselves but trails off
• One character makes small, cutting remarks disguised as jokes
• They still know each other’s preferences or weaknesses
• They speak in fragments when the past comes up
• They fall into familiar conversations and then awkwardly break them
If you enjoy digging into character dynamics like this, my printable novel planner has detailed sections for relationships, character arcs, and story structure. It’s perfect for organizing a fanfic or mapping out an entire novel!
⤷ my printable novel planner
@elodieunderglass - This made me think of you.
Thank you so much for this

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I haven’t even seen this movie but I need you to see this Letterboxd review of The Housemaid - the discord server I’m in and I have been losing our minds over it
[ ID from Alt: A review for the 2025 movie "The Housemaid". This review may contain spoilers. The main text reads, stop calling this movie “twisty.” the twist is that rich people are evil pervert. that is not a twist. that is information. personally this would never happen to me because i would simply use my Eyes and Ears to detect the evil house and then leave. “but she needed the job” i dont care. i will become a different person with a different job. i will move to the woods and eat bugs. i am not sleeping in the punishment attic. i am build different. i have what scientists call “a sense of danger.” i see a room that locks from the outside and i say “no thank you i choose life.” send me to jail. send me to the Ocean. i dont care. i am not entering the bad room. “but she was desperate” ok well i would simply become Not desperate. Rich people in these movies are always saying things like “would you like a tour of the house” and then they show you a hallway that goes the wrong direction and a staircase to nowhere and a room thats just Teeth and youre supposed to nod n smile like it’s normal. “this is the east wing” the east wing is making loud Torture noises. “we dont go in there” ok cool thanks for the heads up. “the previous maid loved it here” where is the previous maid now nina. “around.” around Where. i am going to get back in my car now. “Wait let me show you where youd be sleeping” it is an attic that locks from the outside. there are scratch marks on the door. the window is painted shut. “we just really value your privacy” i do not think that is what this is. “the last girl loved it up here” where is she now. “she left.” through the painted shut window? “she found a way.” why is there a bucket in the corner. “thats for. storage.” storage of What. it was nice to meet you nina i am leaving now in my car. she would say “but the salary” and i would already be gone. i would be a cloud of dust in the shape of a person who is not staying in the maid cage. i dont care if u r offering me one hundred bajillion million dollars i am not sleeping in the people crate. “its totally normal” i do not think so. Are you sure thats how doors work? you sure the maid bedroom is supposed to lock the maid inside? cause i asked the guy at the home depot and he said you are Pervert. “dont you want to see the basement” absolutely not. “its a wine cellar” i am sure it is. i am sure you have many wines down there. i am sure nothing else is down there. i am sure if i went down there i would come back up. i am sure of that. you are nodding too much. you are nodding like a person who has a secret basement thing going on. i am not going to be the next wine. and this is the spiral staircase” it goes down like nine hundred feet. “its italian marble.” great. “andrew designed it himself.” did he. it looks like a place where something bad would happen. it looks specifically designed for someone to fall down. “its perfectly safe.” it is not. i am an adult. i can see a murder staircase when i see one. “would you like to stand at the top.” i would not. “the view is lovely.” the view of what. the view of the Floor? from Fatally High Up? i will pass. Thank You" / End ID ]
To all who have told me about my absolutely awful cropping, I deeply apologize for not seeing it sooner, I wish I could change it, and I will do better in future posts should the need arise. Reblogging prev’s thoughtful ID text of the post for your viewing pleasure.
Chaotic gremlin best friends!!
⟢ "I need an alibi for Tuesday." - "What time." - "You didn't ask what I did." - "What time."
⟢ "Hypothetically." - "No." - "You didn't hear the question." - "Hypothetically no."
⟢ "I did something." - "Scale of one to ten." - "Depends who's asking." "Me." - "Seven." - "Police." - "Four." - "God." - "Thirteen."
⟢ "We need to leave."- "Why." - "I'll explain in the car." - "Why." - "I'll explain in a different country."
⟢ "This is your fault." - "You literally came up with the idea." - "I have bad ideas all the time, you're not supposed to DO them."
⟢ "Okay hear me out." - "My lawyer has advised me not to hear you out." - "You don't have a lawyer." - "I'm getting one specifically for conversations with you."
⟢ "Nobody got hurt." - "Physically." . "Nobody got physically hurt." - "Yet." - "Nobody has gotten physically hurt yet, which is a win."
⟢ "I have a type." - "Yeah?" - "People who are bad for me and you specifically." - "That's not a type that's a pattern." - "Same thing."
⟢ "What's the worst that could happen." - "I have a list. It's laminated. I made it specifically for when you say that."
⟢ "Rate my decision making." - "Historically or right now." - "Both." - "Zero. Consistent zero across the board."
⟢ "You're the only person I trust." - "I dropped your birthday cake last year and told you it arrived like that." - "Yeah but you still got me a cake."
⟢ "I need your honest opinion." - "It's bad." - "You didn't see it yet." - "I've met you. It's bad."
⟢ "Why do you even keep me around." - "Honestly? Entertainment. And you're warm in winter."
⟢ "I wasn't thinking." - "First time for everything." - "I resent that." - "Statistically valid though."
⟢ "On a scale of fine to not fine." - "Remember that time in Prague." - "We don't talk about Prague." - "That fine."
⟢ "Nobody panic but." - "I'm already panicking." - "I haven't said anything yet." - "I know you. I'm getting ahead of it."
⟢ "Promise you won't be mad." - "Absolutely not, that's a trap and I won't fall for it."
⟢ "I have good news and bad news." - "Good news first." - "The car is fine." - "And the bad." - "Define car."
⟢ "You're my emergency contact." - "I know." - "You're listed as my next of kin." - "I know." - "You're also listed as my therapist, my lawyer, and my spiritual advisor." - "I know." - "Do you want to talk about that." - "Nope." - "Cool."
⟢ "I'm a responsible adult."- "You once called me crying because you got your sleeve caught in a door and didn't know what to do." - "I was panicking." - "For forty minutes." - "It was really stuck."
⟢ "I regret everything." - "No you don't." - "No I don't but I feel like I should." - "Same honestly."
Writing Angry Scenes: Tips to Avoid Melodrama and Make It Real
Anger can be one of the most intense, relatable emotions to read—and one of the trickiest to write. When handled well, an angry scene can pull readers deep into the emotional world of a character, building tension and driving the story forward. But when handled poorly, anger can easily slip into melodrama, making the character’s feelings seem overblown, forced, or even cringe-worthy.
So how can you avoid these pitfalls and write anger that feels real and compelling? Here are some tips to make angry scenes powerful without overdoing it.
1. Understand What Fuels Your Character’s Anger
To write anger authentically, you need to understand its roots. People get angry for complex reasons—fear, frustration, betrayal, grief, and even love. Ask yourself what’s truly driving your character’s anger. Are they afraid of losing control? Do they feel abandoned or misunderstood? Are they hurt by someone they trusted? Anger rarely exists in isolation, so dig into the deeper emotions fueling it.
When you understand the core reasons behind a character’s anger, you can weave those nuances into the scene, making the anger more relatable and layered. Readers will feel the depth of the character's rage, not just the surface heat of it.
2. Show, Don’t Tell—But Don’t Overdo It
“Show, don’t tell” is classic writing advice, but it’s especially crucial in angry scenes. Don’t rely on generic phrases like “She was furious” or “He clenched his fists in anger.” Instead, look for unique ways to convey how this specific character experiences anger. Maybe their voice drops to a deadly calm, or their eyes narrow in a way that makes everyone around them uncomfortable.
That said, showing too much can backfire, especially with exaggerated descriptions. Over-the-top body language, excessive shouting, or too many “flaring nostrils” can tip the scene into melodrama. Use body language and physical cues sparingly and mix them with subtler reactions for a more realistic portrayal.
3. Use Dialogue to Reveal Hidden Layers
People rarely say exactly what they feel, especially when they’re angry. Angry dialogue isn’t just about yelling or throwing out insults; it’s an opportunity to show the character’s deeper thoughts and vulnerabilities.
Consider using controlled, icy responses or unexpected silences. Maybe your character says something hurtful in a low voice rather than screaming. They might express sarcasm, avoidance, or even laugh at the wrong moment. Anger often carries hidden layers, and using these nuances can help your character’s dialogue feel genuine, even haunting, without falling into dramatic clichés.
4. Control the Pacing of the Scene
The pacing of an angry scene can be the difference between a powerful moment and a melodramatic one. In real life, anger doesn’t always erupt instantly; it can simmer, spike, or deflate depending on the situation and the character’s personality. Experiment with different pacing techniques to create tension.
You might build the anger slowly, with small signs that something’s brewing. Or maybe the character explodes suddenly, only to calm down just as quickly, leaving a chill in the air. Controlling the pace helps you control the reader’s emotional engagement, drawing them in without overwhelming them.
5. Avoid Clichéd Expressions and Overused Reactions
When writing anger, avoid falling back on clichés like “seeing red,” “boiling with rage,” or “blood boiling.” These phrases have been overused to the point that they lose their impact. Instead, get creative and think about how your character’s anger might feel specifically to them.
Maybe their skin feels prickly, or their jaw aches from clenching it. Think about details that are unique to the character and to the moment. By focusing on small, unique sensory details, you’ll help readers feel the anger rather than just reading about it.
6. Let the Setting Reflect the Emotion
The setting can be an effective tool to amplify a character’s anger without overstating it. Small details in the environment—such as the hum of a refrigerator, the slow ticking of a clock, or the distant sounds of laughter—can create a sense of contrast or isolation that heightens the character’s rage.
For example, imagine a character seething in a peaceful park or a quiet library. The calm of the surroundings can make their anger feel more potent. Or maybe they’re in a crowded, noisy room where they feel unseen and unheard, which fuels their frustration further. This use of setting can add depth to the scene without the need for dramatic gestures.
7. Let Consequences Speak for Themselves
An effective way to avoid melodrama is to let the consequences of the anger show its intensity. Characters don’t always have to yell or physically react; sometimes, a single choice can convey more than any outburst.
Perhaps your character cuts off a close friend or says something they can’t take back. Maybe they throw away a meaningful object or walk out in silence. By focusing on the consequences of their anger, you can reveal the impact without over-explaining it.
8. Let the Emotion Simmer After the Scene Ends
Anger is rarely resolved in a single moment, and its effects often linger. When writing an angry scene, think about how it will affect your character moving forward. Are they holding onto grudges? Do they feel guilty or exhausted afterward? Does their anger transform into something else, like sadness or regret?
Allowing the anger to simmer in your character’s mind even after the scene ends creates a more authentic and layered portrayal. It shows that anger is complex and doesn’t just disappear the moment the scene is over, adding emotional weight to both the character and the story.

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Advice for writing someone with ADHD!
NO SHADE AT ALL!! I just want all of us to become better writers! please correct me if I get anything wrong, and ADD YOUR OWN EXPERIENCES in the notes! every person is different, I'm only writing from my experiences, means from people I know with ADHD but like I said EVERY PERSON IS DIFFERENT so take this as a starting point not a rulebook!!
✮ they don't just get distracted, they get ABSORBED in the wrong thing. your character isn't just "ooh squirrel", NO, they started cleaning one drawer and now they've been organizing their entire childhood photo collection for 4 hours and they forgot to eat lunch and they were supposed to be doing their taxes. the hyperfocus is REAL and it picks the WORST times to activate.
✮ time is a social construct they don't understand. "I'll do it in 5 minutes" could mean 5 minutes or 5 hours, they genuinely don't know. "this will take 20 minutes" takes either 6 minutes or 3 days, no in-between. they're either 45 minutes early or 20 minutes late and both feel equally bad. they have NO CONCEPT of how long things take.
✮ they have 47 systems that they used once. your ADHD character has bought: planners they never used, apps they forgot to open, color-coded calendars that looked pretty for 1 day, timers they didn't hear go off, reminder systems they ignored, and 12 different brands of fidget toys. they're CONVINCED each new system will fix them. it never does but they keep trying.
✮ the brain doesn't shut up but also can't focus. it's like having 19 browser tabs open, 4 of them are playing music, 7 are buffering, 3 are the same Wikipedia article they opened three times because they forgot they already opened it, and one is just static but they can't figure out which tab it's coming from. your character is thinking about 8 things at once and retaining NONE of them.
✮ they NEED the pressure. your character does their best work at the absolute LAST minute because that's when the adrenaline kicks in and suddenly the brain goes TURBO MODE. they've known about this deadline for 3 weeks but didn't START until 2 hours before. and honestly? it's their best work. this is not healthy but it's REAL.
✮ object permanence is a lie. if your character can't SEE it, it doesn't EXIST. they've bought the same item 6 times because they forgot they had it. they've missed appointments because the reminder notification disappeared from their lock screen. "out of sight, out of mind" is LITERAL. they've forgotten about food in the microwave until they go to use the microwave again 8 hours later.
✮ they're either talking too much or not at all. your ADHD character interrupts people (and feels bad about it) because if they don't say it NOW they'll forget FOREVER. or they're completely checked out of the conversation because they got distracted by a thought 3 sentences ago and now they have no idea what anyone said. there's no middle ground.
AGAIN please please please add your own experiences!! ADHD looks different for everyone and I'm just one person with one perspective!! if I got something wrong or missed something important TELL ME so I can learn too!!
Other ways to say ‘walk’ based on a vibe:
Neutral:
Strolled- Walked at a steady, leisurely pace. Moved - Simply walked from one place to another. Went - A basic term to say walked. Wandered - Walked without a specific destination.
Happy:
Skipped - Walked with a light, bouncing step, often out of joy. Bounced - Walked with energetic, lively steps. Sashayed - Walked with a confident, cheerful flair. Pranced - Walked in an exaggeratedly happy or playful manner. Danced - Walked with movements full of joy or rhythm.
Angry:
Stomped - Walked with heavy, forceful steps, showing frustration or anger. Marched - Walked with purpose and determination, often angrily. Stormed - Walked quickly and angrily, often leaving a situation (stormed out). Trudged - Walked heavily, with anger or frustration weighing down the steps. Charged - Walked aggressively, moving quickly and with force.
Sad:
Shuffled - Walked slowly, dragging the feet, often indicating sadness or exhaustion. Plodded - Walked with heavy, slow steps, as if burdened by sorrow. Trudged - Walked slowly and with effort, weighed down Slumped - Walked with a hunched posture, showing sadness or defeat. Dragged - Walked with effort, as if every step was a struggle.
Surprised:
Froze - Stopped mid-step in reaction to shock or surprise. Stumbled - Walked clumsily due to being caught off guard. Jumped - Took a quick, startled step. Skipped a step - Momentarily hesitated in walking due to surprise. Backpedaled - Walked backward quickly, often in shock or surprise.
Fearful/anxious:
Crept - Walked slowly and carefully, trying to avoid being noticed. Tiptoed - Walked quietly on the balls of the feet, trying not to make noise. Slunk - Walked with a low, cautious posture, trying to remain hidden. Hesitated - Took a few tentative steps, unsure or fearful. Paced - Walked back and forth, often in thought or anxiety.
Shy:
Shuffled - Walked slowly, with small, unsure steps. Hesitated - Paused slightly before walking, unsure or nervous. Slipped - Moved quietly and quickly to avoid attention. Hovered - Stayed near a spot, hesitant to walk forward. Inched - Walked very slowly, as if unsure or reluctant.
Thoughtful:
Wandered - Walked without a specific destination, lost in thought. Paced - Walked back and forth while thinking deeply. Strolled - Walked slowly, enjoying the time to reflect. Meandered - Walked aimlessly, with no rush, often in contemplation. Paused - Stopped briefly during a walk, considering something.
Commanding:
Marched - Walked with purpose and authority. Strutted - Walked with confidence and a sense of power. Advanced - Walked forward with a deliberate, commanding stride. Charged -Walked quickly and forcefully toward a goal. Led - Walked at the front, guiding others behind them.
Genuine question why the fuck is February only allowed have 28 days? why can't we just give it one of January's and March's extras and even the score to 30. what fucklehead is responsible for this conniving calendar thievery
well shit we really did just let the romans get away with any ole thing huh
I'm telling you guys. SIX days per week. THIRTY days per month. TWELVE months per year. A thirteenth "liminal month" of five days (six on leap years) between years, which is considered a holiday period.
Six day week is superior to seven because a prime number week is stupid. There's a lot of things that people like to do every second or third day; in a six day week, this is always the same days each week.
All months are the same length. Advantages obvious.
Thirty days is a good round number for a month; it can be divided into so many smaller numbers. Convenient for things that need to be done regularly; you can do them on the same days each month and have the gaps between them all exactly the same.
Every month in a given year starts with the same day. If the 3rd is a Wednesday, every 3rd will be a Wednesday. This is a massive help in scheduling bullshit that ends up happening "second Tuesday of every month" or whatever, and also helps people track regular monthly things (if you have a monthly meeting on the 15th, it's going to be the same day of the week every time). Fitting weeks perfectly into months just offer so many improvements for scheduling and remembering stuff.
The days move back with each non-leap year -- if the 1st of every month in 2025 is a Tuesday, the 1st in every month in 2026 will be a Monday. (This also happens with out current calendar as neither 6 nor 7 fit into 365). This means that if your birthday is on a Monday or whatever, it won't be that way every year -- only the same day of the month WITHIN THE YEAR (2 years in a row for leap years) is the same. (I bring this up because last time I mentioned this people didn't do the math and thought that the days of the week would be consistent across years, somehow, mysteriously).
Holiday transition period between years. You know you want it. People treat the Christmas-New Year's period like this already when their work lets them do it. Make it official.
Crucially, a week is 6 days but we keep the 2 day weekend
Quick Tips for Writing Food
(๑ᵔ⤙ᵔ๑) TEXTURE MATTERS MORE THAN TASTE!! "it tasted good" tells me nothing. "The crust shattered into a thousand buttery shards" or "gummy, like chewing a tire" NOW I'm there. Crunch, slime, melt, chew, squeak (yes some foods squeak and it's horrible)
(๑ᵔ⤙ᵔ๑) Food is memory!!! your character doesn't just eat chicken soup, they eat the chicken soup that tastes like being home sick from school, like their grandmother's kitchen, like the last good day before everything changed. FOOD CARRIES STORY!!
(๑ᵔ⤙ᵔ๑) Temperature is a character!! scalding coffee that burns your tongue, ice cream so cold it gives you a headache, room-temperature pizza at 2am that tastes like regret. Temperature changes the entire experience!!!
(๑ᵔ⤙ᵔ๑) The SOUND of eating reveals character. Do they slurp? Chew with their mouth open? Cut everything into tiny pieces? Eat standing over the sink? These tiny details tell you who someone IS
(๑ᵔ⤙ᵔ๑) Describe what it does, not what it is!! Don't say "the spicy curry" say "the curry that made her sinuses open up like floodgates and her eyes water and why did she think she could handle this"
(๑ᵔ⤙ᵔ๑) Use WEIRD comparisons. "tasted like chicken" is boring. "Tasted like what I imagine a leather couch feels like" or "sweet in that chemical way that makes your teeth hurt" get SPECIFIC and strange.
Quick Tips for Writing Time Skips
°˖➴ SHOW THE EVIDENCE, not the time!! don't say "three months later" and have everything exactly the same. Show the evidence: the houseplant is dead now, there's a new coffee shop, their hair is longer, the season changed, the relationship shifted
°˖➴ People don't pause their lives!! during your time skip, other characters didn't freeze. They got new jobs, started dating someone, developed opinions, had experiences. When we come back, there should be GAPS in what your POV character knows
°˖➴ Anchor it with a CONCRETE detail!! "The last time she'd been in this room, there'd been snow on the ground. Now the garden outside was screaming with roses." Give the reader something tangible to mark the passage
°˖➴ What DIDN'T happen is interesting!! "Six weeks and still no word from him" or "Another year of birthday candles she didn't make wishes on" sometimes the time skip is defined by absence and waiting
°˖➴ Compress boring stuff, expand important stuff!! "The trial took three months" can be one sentence. But the five minutes after the verdict? That might be three pages. TIME IS ELASTIC in fiction, use it!!!
°˖➴ Characters should FEEL differently about the skip !! time passing changes perspective. Something that felt devastating last year might feel trivial now. Or vice versa. What seemed certain became a mistake. SHOW THE SHIFT

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Writing Tips Master Post
Edit: Some posts may be deleted
Character writing/development:
Character Arcs
Making Character Profiles
Character Development
Comic Relief Arc
Internal Conflict
Character Voices
Creating Distinct Characters
Creating Likeable Characters
Writing Strong Female Characters
Writing POC Characters
Building Tension
Writing Grumpy x Sunshine Tropes
Writing Sexuality & Gender
Writing Manipulative Characters
Writing Mature Young Characters
Writing Disoriented but Capable Characters
Plot devices/development:
Intrigue in Storytelling
Enemies to Lovers
Alternatives to Killing Characters
Worldbuilding
Misdirection
Things to Consider Before Killing Characters
Foreshadowing
Story Structure (+ Addition)
Killing Many Characters at Once
Narrative (+ how to write):
Emphasising the Stakes
Avoid Info-Dumping
Writing Without Dialogue
1st vs. 2nd vs. 3rd Perspective
Fight Scenes (+ More)
Transitions
Pacing
Writing Prologues
Dialogue Tips
Writing War
Writing Cheating
Writing Miscommunication
Writing Unrequited Love
Writing a Slow Burn Btwn Introverts
Writing Admiration Without Attraction
Writing Dual POVs
Writing Unreliable Narrators
Naturally Conveying Character Age
Avoiding Repetition of "I" in 1st Person
Worldbuilding:
Worldbuilding: Questions to Consider
Creating Laws/Rules in Fantasy Worlds
Book writing:
Connected vs. Stand-Alone Series
A & B Stories
Parts of a Book (Chapters, Scenes, Arcs, Story Beats)
Writer resources:
Writing YouTube Channels, Podcasts, & Blogs
Online Writing Resources
Outlining/Writing/Editing Software
Translation Software for Writing
Writer help:
Losing Passion/Burnout
Overcoming Writer's Block
Fantasy terms:
How To Name Fantasy Races (Step-by-Step)
Naming Elemental Races
Naming Fire-Related Races
How To Name Fantasy Places
Ask games:
Character Ask Game #1
Character Ask Game #2
Character Ask Game #3
Miscellaneous:
Writing Tips
Writing Fantasy
Miscommunication Prompts
Variety in Sentence Structure (avoiding repetition)
Idiot Writer Guide to Horse Riding
First thing: horses are not bikes or cars. They are large, emotional animals with opinions. If they don’t trust the rider, everything gets harder.
Mounting is awkward. Even experienced riders don’t look graceful every time. Missing the stirrup happens. Especially under stress.
Riding is physical work. Thighs burn, hands cramp, lower back aches. Beginners feel it in minutes, not hours.
Horses spook. Sudden noises, shadows, smells—anything can set them off. A startled horse doesn’t politely wait for instructions.
Speed has limits. You cannot gallop forever. Horses overheat, tire, and need breaks or they risk injury.
Stopping is not instant. Horses need distance to slow down. Pulling hard just makes things worse.
Terrain matters a lot. Mud, rocks, steep hills, ice, forests, crowds—each changes how fast and safely you can ride.
Falling hurts. Even a short fall can knock the wind out, break bones, or leave a rider stunned and slow to get up.
Horses get injured too. Strained legs, thrown shoes, sore backs—an injured horse may refuse to move at all.
Bond beats skill. A calm horse with a trusting rider is safer than a powerful horse with someone it doesn’t know.
Fear travels both ways. If the rider panics, the horse feels it and reacts.
Long rides leave evidence. Chafing, stiffness, sore muscles, raw hands—nobody rides all day and looks fine.
Talking while riding is hard. Breath bounces, voices break, and shouting is common at faster speeds.
If the rider is unconscious or dead, the horse doesn’t magically keep going toward the destination.
Common Horse Writing Mistakes