*doing hot girl shit*

Happy Pride! :D

I’m moving soon, so I figured it’d be a good time to open commissions and it’d be fun to do some icons!

So I’m about [checks date] almost two years late to this BUT here’s my DTIYS @3lectricinsomnia / @evenmoreofadisaster.

Finally felt confident enough to participate since EMD is one of my favorite rottmnt aus and I love the little evil disaster twins.

Genuinely had such a blast drawing this-!♡

Also don't take his drink it's probably poison.

They make me horrifically sick I love them so much

Little comic for @evenmoreofadisaster [ @3lectricinsomnia ]

Episode 8 of Drop Dead Gorgeous! Thank you all for your patience! ON TO THE NEXT CHAPTER!!

Previous: (8) Episode 7

Next: (9) Episode 1 -Get the next part two weeks early on Locals at indiey.locals.com

there's no Huge Event or anything, is just pretty much a One dropped by to hang out with Poptart and Toast was there <-this counts for both One and Oneion on the past

We did had an idea of Oneion, now grown up, seeing Toast for the first time in years and not recognizing them for a second, slamming them to the ground cause ???? who are you???

You know that thing where a story is written in tight third person limited — we’re meant to be inside someone’s head, seeing the world through their thoughts — and then suddenly the narration says “the blond frowned” or “the shorter woman sighed” about a person the POV character knows really well?

That’s called antonomasia — using a descriptive label instead of a name. And it’s fine when we’re talking about strangers: “the cashier handed her the receipt,” “the tall guy blocked the door.” The POV character doesn’t know their names, and we just need a quick way to tell people apart.

But the moment it’s used for someone the POV character already knows, it breaks immersion. Because that’s not how our minds work. We don’t think “the older man smiled at me.” We think “Mark smiled.” Or maybe “my boss” if that relationship matters in the moment.

Third person limited means the narration sits inside someone’s perception. Their inner monologue is the story’s voice. So when you switch from “Mark smiled” to “the blond smiled,” you’ve pulled the camera away from their mind and turned it into an outside shot.

If you want to create distance or irritation, you can do it on purpose —

“The idiot from accounting emailed again.”

That’s character voice. That’s judgment. That works.

But otherwise?

As soon as your POV character knows someone’s name, use it. While we do tend to worry about repetitions, names rarely register as such to the readers.

If you need variety for rhythm, use relational or emotional identifiers that make sense in their head: her friend, his partner, their teacher, the person they loved.

Because inside someone’s thoughts, there are no “blonds” or “brunettes.”