Shrimprawnzee

used a reference for everything

thinner line art (you think thats thin? go thinner….)

sketch, then do a cleaner sketch, THEN start finalizing

THUMBNAILS

color research, picking a set palette or light/dark for each work

you like that pose? redo it one more time

USE A DAMN REFERENCE

do not rely on stylization as an excuse for anatomy

draw the goddamn background you coward

just draw the hand- a bad hand is better than a hidden hand

the rule of thirds WORKS

take a considerable break between sketch and lines/paint

know that art takes longer as you get better at it

draw the seams on clothes

stop aiming for accuracy and focus on fluidity and motion, accuracy will come with practice of those two concepts

just…do the chiaroscuro. just DO IT. no excuses it always works

stop making excuses, make yourself an art schedule/set weekly(or daily) art goals and just DO IT.

To all the writers who have ever been told they need to outline their story, and privately thought “Great. But how do you DO that? What exactly does that mean?! Is there a map? WHAT IS THE SPECIFIC DEFINITION OF THE VAGUE WORD ‘OUTLINE’?”

Good news. Stories have structure. Structure that can be learned. And a fantastic place to start learning structure? 

Save the Cat: The Last Book on Screenwriting You’ll Ever Need by Blake Snyder. This book gives a simple outline that most stories follow. And as an introduction to story structure, it can’t be beat. 

In Save the Cat, 15 plot points are spelled out in something called a beat sheet. During the outlining process, these “beats” or plot points can be used as an armature or skeleton that your story is built upon. 

So what are those 15 plot points?

Opening Image: A snapshot of the hero’s problematic ordinary world, right before the story starts and changes everything. 

Set-Up: Further establishing that ordinary world and what the hero does every day, impressing upon the audience or reader what’s wrong, and the idea that something needs to change.

Theme Stated:  The truth that the hero will learn by experiencing the story, the statement that will be proven to the audience. But upon first encountering this truth, in this story beat right in the beginning, the hero doesn’t understand or outright refuses to believe it. The theme stated is asking a question, a question which the story will answer.

Catalyst: The ordinary world is shattered. Something unexpected happens, and this event triggers all the conflict and change of the whole story. Life will never be the same after this moment. This is the Call to Adventure. 

Debate: But for a moment, the hero won’t be quite sure about answering that call. Leaving behind the ordinary world is difficult – even if the catalyst has come along and disrupted everything – because the ordinary means safety, it means not being challenged, it means avoiding conflict and heartache. Yes, that existence they’re stuck in might be stagnant and unpleasant, but it protects them from facing the intimidating task of growth, of becoming something better.

Break Into 2: And this is when the hero decides to answer the call and cross the threshold of act two, determined to pursue their goal. 

B Story: This is when the relationship – which usually carries and proves the theme – starts in earnest.

Fun & Games: This is just what it says: the premise promised a certain type of pure entertainment, and this beat is where we get to experience it fully. 

Midpoint: This is either a false victory or a false defeat. Something really really good happens. Or something the exact opposite.

Bad Guys Close In: Forces of opposition and conflict begin to converge on the hero and his goal. Everything begins to fall apart for the hero, the defeats piling up one after another, the main character punching back.  

All Is Lost: This is the sequence where absolutely everything falls apart for the hero. The plans fail, the goal is lost, the mentor dies, the villain wins. All is, quite literally, lost. 

Dark Night of the Soul: The hero’s bleakest moment is right here. In addition to all of the tangible things that have been lost, hope and the gumption to continue with the story have also vanished. There is usually a hint of death here, of some kind. An actual death, or an emotional or spiritual death. 

Break into 3: Ah, but there’s a light at the end of the tunnel. Inspiration occurs, hope is rekindled, courage to pursue the story returns. Usually, this is the moment where the main character learns what they NEED, the truth which will heal them, and allow them to fix their own lives. With this, they are able to snatch victory from defeat.

Finale: And in here, the story goal is pursued once more, but this time from the stronger version of the hero – the version that has learned the theme, and committed to act accordingly. 

Closing Image: The opposite of the opening image. This is a snapshot of life after the story, the problems of the ordinary world solved or banished, a new world opening up for the hero. If the opening is the equivalent of “once upon a time” this is saying “And every day after … “ 

So let’s see how that works! And to see it, let’s look at my favorite short film of all time – Paperman  (because this gave me an excuse to watch it several times and listen to the music while writing it.)

1) Opening Image

We see George, a twenty-something in a sixty-something’s suit and tie, obviously on his way to work, and not looking at all enthused about it. He stares straight ahead, expression bored, lifeless, right on the edge of depressed. Wind from a passing train pushes him slightly, and he lets it, demeanor unchanging. 

2) Set-Up

But then a sheet of paper, caught on the wind, hits his shoulder. The paper flies off again, and a young woman appears onscreen, chasing after the paper, as the surprised George watches.

 After catching it offscreen, the girl returns, tucking the paper into the stack she carries, smiling slightly. They both face forward, waiting for the train side-by-side, in silence. She’s glancing sideways at him, he’s smiling and fidgeting nervously, but still resolutely facing forward; they’re both aware of each other, seemingly hoping the other will be braver, but neither able to overcome their shyness and the unspoken rules of everyday life. 

3) Theme Stated 

As a train charges into the station, a paper from George’s stack is snatched by the wind and lands flat on the woman’s face. When he pulls the paper away, she laughs: her lipstick left a perfect kiss mark on the sheet. When George spots it, he laughs too … 

but when he opens his eyes, she’s gone. She’s boarded a different train. The kiss-mark paper flaps in the wind as the train begins to move, taking her away. He watches, crestfallen. She glances back. Looks of regret and disappointment are exchanged, both a little wistful. The paper, the symbol of their fleeting memorable meeting, waves goodbye. 

Through this little sequence of images, the question of the whole story is asked: Was there a connection between them? Will they find each other again? And on a wider level: What does it take to find love? 

Further Set-Up:

And cut to George behind a desk, in a gray office, dark file cabinets towering behind him, clocks on the wall ticking away his life. Miserable again, he stares at the lipsticked paper. A stack of documents slams onto the desk from on high. The grim-faced boss of the office scowls down at him. George frowns at the stack, then at his boss, who stomps away.   

4) Catalyst 

Breeze pulls the kissed paper off his desk and out the open window. He catches it just in time, breathing a sigh of relief. And then he sees something. The girl! She’s there! She’s right across the street! 

5) Debate 

He needs to get her attention! He dithers for a moment, then throws the window wide and enthusiastically waves his arms.

 An ominous “ahem” from the boss brings him back inside, and back to his desk. But his attention is still on the girl, and the need to get her attention. He folds a paper airplane, stands before the window, poises the airplane to fly … but he glances at his boss’s office before he throws it. Should he? 

6) Break Into Act 2

Yes. Yes, he should. He sends the little airplane messenger to bridge the distance between himself and the girl. 

7) B Story

What he should have done while waiting for the train, he’s committed to do now. Talk to her. The relationship of the story has started officially. 

8) Fun & Games

In this moment, he becomes the “paper man” of the title. He folds and throws paper airplane after paper airplane. The boss shows up, shoves him back and slams his window. George pauses until he’s gone, then just keeps sending airplanes. They sail over the street, but are intercepted or miss their mark every time. 

9) Midpoint

He reaches for more paper … and knocks an empty tray off the desk. He’s run out. Except for one paper, the kissed one, the only one he’s held onto. With a determined look, he folds it precisely into an airplane, stands before the window, breathes to steady himself … 

And the wind steals the airplane from his hand, sending it spiraling to the street below, George reaching out pointlessly. On top of this defeat, the girl leaves the office.  

10) Bad Guys Close In 

Immediately, the boss emerges from his lair. The other office workers hurriedly return to their scribbling, hunched to avoid drawing attention. The girl is leaving the building across the street! George turns from the window … and finds the boss looming above him, glowering, delivering another tall pile of meaningless work. 

George sinks into his chair, defeated. But something happens as he watches his boss walk away, as he sees the office workers in neat rows; all of them older versions of George, reflections of what he will become … if he doesn’t do something right now. 

He runs, sending paper from the perfect stacks flying in his wake. 

11) All Is Lost

But when he escapes the building, and attempts to cross the street, cars nearly kill him. And when he finally makes it to the opposite sidewalk, the girl is nowhere in sight. She’s lost again. 

And all he manages to find is the little traitorous paper airplane. The paper he’d believed might mean something, might have signified something important and maybe a little magical. Which it obviously never did. 

12) Dark Night of the Soul

Angry, he grabs the plane and throws it with all his strength.  He’s lost his job, he’s lost the girl, he’s lost all faith in the magic he’d just started to believe might be real. He stomps towards the train station, returning home. 

13) Break Into 3  

But fate has other plans. The airplane glides over the city, almost supernaturally graceful and purposeful. It dives between buildings, and lands in the middle of the alley where all the paper planes have collected. 

It sits immobile. Then it moves. Moves again. And jumps into flight. The airplane flies over the rest, stirring them into motion, into the air. In a place where not even a breath of wind could reach, there is now a whirlwind of George’s airplanes. 

Though the forces of mediocrity tried to keep them apart, something greater has recognized George’s efforts and is going to see things through. 

14) Finale

A parade of airplanes follows George down the street. 

The leader attaches to his leg. He brushes it off, mad. A flurry of them attach to him, then carry him down the street, unfazed by his fighting. 

The leader airplane rockets over the city purposefully, finds the girl, then lures her to follow.

 She chases after. 

Somewhere else in the city, George is being pushed wherever the paper airplanes want him to go. We switch back and forth between George and the girl, as the airplanes push him and beckon her. 

Until they’re both on different trains, which stop simultaneously, on opposite sides of the platform. The girl gets out. She fiddles with the airplane, like she’s trying to get it to work again. And just then, a breeze brings hundreds of paper planes skittering all around the platform.

 She looks up …

15) Closing Image

And there’s George, covered in paper planes. 

He lurches towards Meg, and the airplanes falls away, their work done. 

George and Meg face each other, smiling, the barriers of routine and shyness overcome. Exactly what should have happened, exactly what was meant to happen. Putting effort into connection and love prevailed in the end, defeating the allure of life spent in safety and mediocrity. The closing image is the opposite of the opening: he’s not alone, he’s not facing the train leading to his mundane job, he’s not looking miserable and hopeless. He’s facing the girl, his bright and meaningful new future. ***

So! Those are the 15 plot points. This is a fantastic way to begin learning what story structure is, why it works the way it does, and how to precisely pull it off. 

Source for more facts follow NowYouKno

A road has no special qualifiers. It connects point a to point b.

A street connects buildings together, usually in a city, usually east to west, opposite of avenue.

An avenue runs north south. Avenues and streets may be used interchangeably for directions, usually has median

A boulevard is a street with trees down the middle or on both sides

A lane is a narrow street usually lacking a median.

A drive is a private, winding road

A way is a small out of the way road

a court usually ends in a cul de sac or similar little loop

a plaza or square is usually a wide open space, but in modern definitons, one of the above probably fits better for a plaza as a road.

a terrace is a raised flat area around a building. When used for a road it probably better fits one of the above.

uk, a close is similar to a court, a short road serving a few houses, may have cul de sac

run is usually located near a stream or other small body of water

place is similar to a court, or close, usually a short skinny dead end road, with or without cul de sac, sometimes p shaped

bay is a small road where both ends link to the same connecting road

crescent is a windy s like shape, or just a crescent shape, for the record, above definition of bay was also given to me for crescent

a trail is usually in or near a wooded area

mews is an old british way of saying row of stables, more modernly seperate houses surrounding a courtyard

a highway is a major public road, usually connecting multiple cities

a motorway is similar to a highway, with the term more common in New Zealand, the UK, and Austrailia, no stopping, no pedestrian or animal traffic allowed

an interstate is a highway system connecting usually connecting multiple states, although some exist with no connections

a turnpike is part of a highway, and usully has a toll, often located close to a city or commercial are

a freeway is part of a highway with 2 or more lanes on each side, no tolls, sometimes termedexpressway, no intersections or cross streets.

a parkway is a major public road, usually decorated, sometimes part of a highway, has traffic lights.

a causeway combines roads and bridges, usually to cross a body of water

circuit and speedway are used interchangeably, usually refers to a racing course, practically probably something above.

as the name implies, garden is usually a well decorated small road, but probably better fits an above

a view is usually on a raised area of land, a hill or something similar.

byway is a minor road, usually a bit out of the way and not following main roads.

a cove is a narrow road, can be sheltered, usually near a larger body of water or mountains

a row is a street with a continuous line of close together houses on one or both sides, usually serving a specific function like a frat

a beltway is a highway surrounding an urban area

quay is a concrete platform running along water

crossing is where two roads meet

alley a narrow path or road between buildings, sometimes connects streets, not always driveable

point usually dead ends at a hill

pike usually a toll road

esplanade long open, level area, usually a walking path near the ocean

square open area where multiple streets meet, guess how its usually shaped.

landing usually near a dock or port, historically where boats drop goods.

walk historically a walking path or sidewalk, probably became a road later in its history

grove thickly sheltered by trees

copse a small grove

driveway almost always private, short, leading to a single residence or a few related ones

laneway uncommon, usually down a country road, itself a public road leading to multiple private driveways.

trace beaten path

circle usually circles around an area, but sometimes is like a “square”, an open place intersected by multiple roads.

channel usually near a water channel, the water itself connecting two larger bodies of water,

grange historically would have been a farmhouse or collection of houses on a farm, the road probably runs through what used to be a farm

park originally meaning an enclosed space, came to refer to an enclosed area of nature in a city, usually a well decorated road.

mill probably near an old flour mill or other mill.

spur similar to a byway, a smaller road branching off from a major road.

bypass passes around a populated area to divert traffic

roundabout or traffic circle circle around a traffic island with multiple connecting routes, a roundabout is usually smaller, with less room for crossing and passing, and safer

wynd a narrow lane between houses, similar to an alley, more common in UK

drive shortened form of driveway, not a driveway itself, usually in a neighborhood, connects several houses

parade wider than average road historically used as a parade ground.

terrace more common in uk, a row of houses.

chase on land historically used as private hunting grounds.

“Him? Who is him?” Chief said, not looking up from the manila folder.

“Him,” Howard said, nodding toward the folder. “We got him.”

“Him? Al? You got Al?” Chief said, glancing up from the folder in his hand, then slowly closing the cover. A large, red “CONFIDENTIAL” was stamped across its front.

“We did, he was outside of an arboretum. We caught him red handed. No, red lipped. Red worded? We caught him in the act is what I’m trying to say.”

“The fuck is an arboretum?”

“Sir, it’s a garden with a large collection of trees instead of flowers. Kind of like a forest, except man made,” Howard said. “It’s basically a forest.”

“Where is there an arboretum in New York?”

“Central Park. Does it matter? We got him.”

“Where is he?” Chief said, glancing around the room. The veins on his neck, visible through his wrinkled, dried skin, popped out slightly as he swiveled his head.

“He’s in the interrogation room.” Howard nodded toward the big, metal door on his left.

“How do you know you got the right guy?” Chief asked.

“He was standing outside of the arboretum telling people they were barking up the wrong tree.” Howard paused. “You know, bark: like a tree has.”

“My god,” said Chief, lowering the folder down to the side of his left leg.

“That—that wasn’t all,” Howard said, stuttering slightly. “When I approached him, he told me to leaf him alone. Not leave, but leaf. To leaf him alone.”

Chief slowly walked to the wooden table in the corner of the room and lowered the manila folder onto the top of it. He placed both palms down and sighed.

“We got a real sicko on our hands, Howard. You did good getting him off the street. Has he confessed yet?”

“No, sir. We sent Chuck in earlier. He came out in tears, an absolute wreck. He didn’t even get a chance to turn on the recorder. Said he wouldn’t stop punning, that Al told him to spruce up the place. Said that it would help us branch out creatively. Chuck tried to play it off, tried to be the tough guy, but Al just didn’t let up.” Howard turned his head toward the metal door to his left. “Chuck told me Al claimed he had an idea for an escape that he maple off. Maple, not may pull. He made it clear that it was a pun.” Howard exhaled deeply and stared up at the ceiling. “He said Al called all of us saps, and that he wooden be surprised if he just walked out the front door. Wooden. Like wouldn’t.”

“Dear lord in heaven,” Chief said, lifting his palms off the table then smashing his fist down on top of the manila folder. “God damn this monster. I’m going to go in,” he said.

“Chief,” Howard pleaded, his voice higher than he had intended it.

“No, I have to do this. I can’t send any more of my men in. I need to be the one to face this maniac.”

Howard nodded and took a step back so that the door was clear. Chief slowly unbuttoned his sport coat, revealing a leather holster underneath. He unlatched it, the grip of his Glock now exposed, then re-fastened the top button on the jacket.

“Turn the recorder on by the window. If it gets too much, please leave the room. I will not hold it against you. Just make sure the recorder is running—we can’t let him go this time.”

Chief exhaled, brushing the side of his hand down the front of his jacket, then made his way toward the door, unlocking it and pulling it open before stepping inside. Howard walked around the wall to the one-way window, flipped on the old tape-deck recorder, and peered inside.

“Al?” Chief said, sliding a chair out from the metal table in the middle of the room. “I’m Dave Johnson, Chief of Police. Do you know why you’re in here?”

Al glanced up at the chief, but seemed to be looking toward the corner of the room.

“That,” Al said, pointing to a whiteboard in the back of the room, “over there.”

The chief turned around. “The whiteboard? What about it?”

“It’s remarkable.”

Howard involuntarily smashed his fist down on the table in front of the glass, but the chief seemed not to notice Al’s pun.

“Nothing remarkable about it.”

“The whiteboard,” Al repeated, “it’s remarkable. Re-markable.”

The chief squinted slightly, as if he were in pain. “Seems unremarkable to me. Now please answer the question. Do you know why you’re here?”

Al sighed. “Let me guess, is it because of the two pieces of string I ate?”

“What?” said the chief.

“The string, I ate two pieces of string. I shit you not.”

Chief’s face became visibly tense, a reddish hue slowly replacing his normal pale color. “You are here for your puns, Al. You’ve been on the pun,” Chief stopped, his eyes wide. “Run. You’ve been on the run for a long time, but we got you. And we have you recorded making these puns.”

Al stared down at the metal table and his eyes closed. “I know,” he said.

“So you admit it?”

“You think I like making puns? You think I like breaking the law?”

“If you don’t like it, then why do you do it?”

Al slowly lifted his head back up toward the chief.

“A long time ago, I was kidnapped and brutally tortured. My life was threatened and I was brought to the brink of death. Do you know what that’s like? Six men accosted me, beat me and chained me to a tree as I walked home. They said they’d tell me ten puns to dictate my future. If I survived, then I was free to go. They told me no one had ever lived through them, they assured me I would die. They laughed when they said that, stared straight in my eyes and pulled the chain tighter to keep me from squirming. Then they began. Each pun was said with hate, each one was meant to kill me. Yet in the end, no pun in ten did.”

The chief’s eyes rolled back in his head, his torso slumping forward onto the table in front of him. He began convulsing, seizing hard enough to knock the chair out from under him, his body plummeting to the floor behind the desk. Howard tried to reach for the alarm on the far right of the window, to hit the button and call for help, yet his limbs refused move. His mind refused to listen. The room turned black.

Howard awoke to a uniformed man standing over him, one of the new recruits he’d not yet learned the name of. He was towering over Howard, yelling for him to get up.

“Gone!” shouted the recruit.

“Huh,” Howard said, voice groggy and slow.

“He’s gone. He took the tapes and he’s gone.”

“Ch-chief,” Howard said, pulling himself up. His arms felt weak, as if he’d spent the past few hours lifting weights. “Where’s the chief.”

“He’s okay, we’ve got him in the office. He’s awake. You’re both going to be fine.”

“Al,” Howard said, remembering the barrage of puns. “Where did he go?”

“He’s gone,” said the recruit.

“Where did he go?” Howard repeated, now shouting.

“Gone, sir. He walked right out the front door.” The recruit paused, but Howard could tell he wasn’t yet done speaking. “We also have reason to believe the name we’ve been calling him is fake.”

“What? Why? We had him here, he responded to Al. All the background checks matched his name.”

“It’s just, his name. Mr. O’Bye. Al O’Bye.”

A stinging pain shot through Howard’s skull. Alibi. Why hadn’t he seen it before; that was why his history was so clean, why he had been so elusive. They were tracking a ghost.

“Fuck me,” Howard muttered, holding his left hand to his throbbing temple. He stared into the empty interrogation room.

“Sir, that’s not all,” said the recruit. He picked up a folded piece of paper from table and handed it to Howard. “He—well—he left you a note.”

Howard stared at the paper. “Detective,” it read in cursive on the front, hand written in blue ink. He flipped it open.

“You ask me why I do what I do, what makes me who I am. Yet you don’t even know who it is that I am. Perhaps I’m simply an unappreciated baker getting revenge on the world after suffering through long hours because I kneaded the dough. Maybe I’m a forlorn banker, doing this because I’ve finally lost interest. Or maybe I’m just a backwards poet, writing inverse and making no sense. Yet, in the end, you’re not much different than I. You stay up all night and day, searching for me, wondering who I am, waiting for the light that never comes. Only when I stayed out too late waiting for that sun to rise, it dawned on me.

It’s been my pleasure meeting you, perhaps I will see you around.

Sincerely,

Mae B. Layter”

10 Writing Resources: Characters

From the basics to the very in-depth, these are some of the resources I go to when I’m developing new characters. Have a look at my favorites, and add your own!

1. 25 Things About Creating Characters

As a writer, creating characters is probably the most important thing you do. Get it wrong, and the story will be wrong no matter how well plotted.

2. Lessons From James Scott Bell: Characters That Jump Off The Page  

Readers are engaged by characters who do not always act in a predictable way. Think of how to have your character make decisions or respond in ways the reader won’t see coming.

3. Crafting Memorable Characters  

Successful main characters are the agents of their own destiny, they are someone we root for, and they grow or change during the course of the novel.

4. 6 Must-Know Tricks for Getting to Know Your Characters    

Most of us don’t start writing until we’ve come up with a character we just adore. But how can we make sure this character will also be adored by our readers?

5. Creating Your Hero’s Fatal Flaw

The most intriguing conflicts are the ones that come from within people’s own personalities.

6. Five Unrealistic Character Traits    

These characters have traits that are so unrealistic, the audience starts thinking about the author’s intention rather than the story at hand.

7. 100 Character Development Questions for Writers  

Answer these in character, but only in a situation where your character would be 100% honest with themselves and with the person asking the question.

8. Writing Crutches: Gestures  

What are gesture crutches, and why should we avoid them?

9. The Path to Deepening Your Protagonist

 Protagonists don’t write themselves. No character does. So why leave trait-choice up to the character?

10. Nine Kick-Ass Excercises to Find Your Character’s Voice  

Creating unique voices for each viewpoint character is essential in creating fiction readers want to read over and over.

What about you? What are your favorite blog posts about creating characters?

text tricks; click the <html> button in the corner

     <small> makes things smaller. the more <small> you use, the smaller it gets.

     <big> same applies with big

     <sup> makes things go up up up up

     <sub> makes things go down down down down 

     <u> makes underlines (only seen on blog pages)

     go here for ｓｐａｃｙ  ｗａｃｅｙ  ｗｏｒｄｓ

     z̗̟̻̫̼͓͂ã̤̬͓̼͓̔̐̇͑ͩ̀l̯̜̰͐̒ͪg̺͎͈̍o͍̫̬̤ͭ ͍ͩͤ̈́a͇̘͙̼̠̪̣ͨ̾̍̿k̼ͣa̯̮͇̟ͫ̑ͤͭ̔̊ͣͅ ͌͆s̮̫̼͖̫̖̐̆ͦc̎ͪÃ͔̬̘̫̣̮̮̂̉͗R̈́Ẏ̖͕͚̱̩̠ ̫̝͎̞͖̄T͔̎͊̍ͪ̔E̲̞̽ͨ̿̑X͓̜̩̖̜ͦ͊T̹̥̰̊̎͂ found here

     here and here for ƒαηcу/սռﻨƈօժε †εχ† (☞ here for unicode symbols ☜)

     upside down text? oɯəlqoɹd ou

of course, those are the basics. <code> makes things monospaced and <pre> puts your text in a grey box.

other;

     need themes? NEED THEMES? HERE’S A THEME REC W/ 4000+ THEMES AHHHHHH

     japanese emoticons? (◕△◕✿) 

     things that look like japanese emoticons but are cute lil gifs?

winking

clenching

pulsing

fluttering

contracting

twitching

sucking

quivering

pulsating

throbbing

beating

thumping

thudding

pounding

humming

palpitate

vibrate

grinding

crushing

hammering

lashing

knocking

driving

thrusting

pushing

force

injecting

filling

dilate

stretching

lingering

expanding

bouncing

reaming

elongate

enlarge

unfolding

yielding

sternly

firmly

tightly 

harshly

thoroughly

consistently

precision

accuracy

carefully

demanding

strictly

restriction

meticulously

scrupulously

rigorously

rim

edge

lip

circle

band

encircling

enclosing

surrounding

piercing

curl

lock

twist

coil

spiral

whorl

dip

wet

soak

madly

wildly

noisily

rowdily

rambunctiously

decadent

degenerate

immoral

indulgent

accept

take

invite

nook

indentation

niche

depression

indent

depress

delay

tossing

writhing

flailing

squirming

rolling

wriggling

wiggling

thrashing

struggling

grappling

striving

Arouse -  agitate, awaken, electrify, enliven, excite, entice, foment, goad, incite, inflame, instigate, kindle, provoke, rally, rouse, spark, stimulate, stir, thrill, waken, warm, whet, attract, charm, coax, fire up, fuel, heat up, lure, produce, stir up, tantalize, tease, tempt, thrum, torment, wind up, work up

ACCA: 13-ku Kansatsu-ka