This nigga had all that room... #ghostreconbreakpoint #tomclancybreakpoint #ubisoftgames #blackgamers #gamingcouple https://www.instagram.com/p/CYUh-U7AHni/?utm_medium=tumblr
will byers stan first human second

izzy's playlists!
Monterey Bay Aquarium
sheepfilms

JVL
we're not kids anymore.
$LAYYYTER
hello vonnie
cherry valley forever

ellievsbear
Acquired Stardust

JBB: An Artblog!

Origami Around

blake kathryn
Misplaced Lens Cap

pixel skylines
styofa doing anything

Kiana Khansmith
RMH

seen from Malaysia
seen from United States
seen from Germany
seen from United States
seen from Philippines

seen from Germany

seen from United States

seen from United States

seen from Germany

seen from Canada
seen from United States

seen from Indonesia
seen from Mexico

seen from United Kingdom
seen from Italy

seen from United Kingdom
seen from United States

seen from Türkiye

seen from Malaysia

seen from Australia
@phas-3
This nigga had all that room... #ghostreconbreakpoint #tomclancybreakpoint #ubisoftgames #blackgamers #gamingcouple https://www.instagram.com/p/CYUh-U7AHni/?utm_medium=tumblr

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Seems like somebody is having trouble at home.... #tomclancy #tomclancybreakpoint #ubisoftgames #playstation5 #gaming https://www.instagram.com/qtrmastergaming/p/CYPycgPPwMr/?utm_medium=tumblr
#DevilMayCry5 #DevilMayCry5SpecialEdition #dmc5se #capcomgames #dante #dmc5devnotes https://www.instagram.com/p/CYPwPoeMID7/?utm_medium=tumblr
Lol My wood elf low-key looks like Sam Worthington. #elderscrolls #elderscrollsv #elderscrollsskyrim #skyrim #playstation5 #skyrimanniversaryedition #bethesda #charactercreation https://www.instagram.com/qtrmastergaming/p/CYKpZ5vLAT1/?utm_medium=tumblr
#devilmaycry5 #dmc5specialedition #ps5 #playstation #devilmaycry5nero #gaming #photomode #capcom #capcomgames https://www.instagram.com/p/CX7J-ZxMspS/?utm_medium=tumblr

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
El Furoso + El Tostasor + Fuego gear.. Hell on Earth 🥵🔥🔥 #farcry6 #farcryps5 #danirojasfarcry6 #supremo #playstation5 #ubisoft #gamer #gamercouple #muycaliente🔥 https://www.instagram.com/p/CX1a651L2UY/?utm_medium=tumblr
I was wondering if you knew any basic guides to outlining a novel for the first time?
Outlining a story is very, very important. Without an outline and thorough planning, your story will veer off in wildly different directions and will cost you a ton of time editing later, like my book did.
1. Get the characters down first
Characters are like the chess pieces of the story. Their moves and strengths/weaknesses will decide what is going to happen and how it will happen. Sure, you can have a nice plot and setting, but without the characters, the story is meaningless.
Here is the character chart that I usually use:
Name (First/Middle/Last/Maiden name)
Aliases/Nicknames
Age
Race
Gender
Sexuality
Height
Weight
Eye color
Hair color
Clothing style
Religion
Political views
Personality Traits
Strengths and Weaknesses
Likes and Dislikes
Family
Friends
Enemies
Role in the story
Backstory/past
2. Choose a template
Just bulleting the events does not give the plot the dimension that it deserves and does not really accommodate side plots.
I personally use the zigzag method that I discovered from this post. I branch off of the zigzags for my side plots so it looks kind of like a graph.
You can also use the subway method, which I found on the nanowrimo website.
There are a whole other host of outlines to choose from if you search them up!
3. Know that you don’t have to stick to it
An outline is just that: an outline. It’s not the final decision for the plot, it’s the first draft for the plot. If you’re writing and one of the points just isn’t working anymore, you don’t have to keep it because it was a part of your outline.
Write what feels right.
Happy outlining, and good luck with your story!
Character Creation
(Not another form.)
I’ve been running my characters through these questions lately so I thought I might as well share them? They are meant to be a fun but challenging look at how your characters are going to interact with each other and the plot.
The examples and explanations are simplistic versions and some stories (especially complex ones) will create variation on the standard.
MOTIVATION
1. What does your character want?
This is something they think will make their life better. They either start out the story wanting it or decide they want it at the inciting incident. It’s driven by internal desires that are strong enough to force the character to make external choices within alter the plot. Often this want demonstrates a flaw the character will have to overcome by the end of the story. (Ex. Ash wants vengeance for her sister at any cost to herself and others.)
2. What does your character need?
This is what will in actuality make their life better. It should build off or contrast their want in some way. (Ex. Ash needs to let go of her quest for vengeance in order to protect the people she loves and let them protect her in turn.)
3. At what point does your character realize that what they need isn’t what they want, and what drives this understanding?
This should happen near the end of the story, usually at the beginning of the climax.
Bonus: If your character doesn’t chose to go after what they need instead of what they want during the above realization, at what point do they make this choice, and what drives it?
RELATIONSHIPS
(Note this can apply to both romantic and platonic relationships!)
1. What external influences are keeping these characters apart?
These are things within the world, likely out of their control, such as war or social expectations or conflicting goals or a looming knowledge they’ll be separated.
2. What internal beliefs are keeping these characters apart?
This is generally old baggage that comes from a feeling, such as fear of being betrayed or not feeling good enough, but it can also be something that arises as time goes on, such as the fear that being honest about their changing beliefs will cause a rift.
3. What does the character have to lose if the relationship falls apart or doesn’t mature?
This can be anything from not having someone there to share their dreams with to not having the skills the other personal provides their sleuthing partnership.
4. What does the character gain if everything works out and these two people are happy together?
Pretty much the same as question three except, you know, opposite.
PERSONALITY
1. If your character is placed in a bare room with a single closed door and told to pick one of these items, which do they chose: a knife, a shield, or a bandage.
Bonus: Why did they pick that item?
2. If you had to portray this character through one action (not a personality trait or a descriptor but an action) what would they be doing?
This could be a hobby, or nervous habit, a presentation of emotion, etc, but it has to show who the character is.
When to End a Story
Finishing stories is a valuable skill. But it’s not always easy to tell, especially for us non-planners, when a story is really done. Personally, I have three things I consider and combine to tell for sure.
I find the story is finished when the promise given by its opening pages/core premise is fulfilled. Simply, it’s the answer to “why this story”: what exactly is it that I’m telling? What’s a question this story is an answer to?
Arcs, both character and plot. A story is done when there’s been a change in either the character or the character’s surrounding/situation, in such a way that, if you took the character from that point and put them in their own shoes at the beginning, it would no longer develop into the same story. That said, a lot of things change and shape characters along the way, so pinpointing the ending might require thinking about the promise/Question of the story alongside this.
If I’ve successfully brought characters/worlds to life, there’s always more story; more before this one, more after this one, even if the character dies or the world gets destroyed. So I thought of a fun trick. I wonder, at which point does this story I’m writing become backstory? If I were writing a story set right after this one, what is the last thing I would have to weave in as character/world backstory in order for that story to be strong? That point is the ending point of the story I’m actually working on. I do admit, this method comes with a likely side effect of rogue sequels.
Finally, it’s worth noting, I listen to my intuition. Many times the story just feels done—and later as I analyse it, it turns out the point where I stopped does tick all these boxes. Stories secretly know what they’re doing.
Your characters have problems.
I don’t mean flaws in character design, even though they possibly do. I mean the problems your characters SHOULD have. The problems they face in your story ie. villains, conflict, war, homophobic parents, not having a date to the big dance. Y’know…like a plot.
Here are 3 ways to improve your plot
1. Your Characters Need to Make Decisions
This may sound obvious, but it isn’t always. The Problem™ isn’t just something your character has to go through that sucks—they should be faced with options, and have to make Active Decisions™ that affect the outcome of the story. This gives your characters agency—if they don’t have agency, if they don’t make decisions, your characters will be read as passive. Passive characters aren’t interesting.
2. These Choices Need To Be Hard
Give your characters inner conflict.
Hard, tough decisions to make. How to face their big problem. In figuring out what options your characters will choose, remember their
Motivations
Background
They way they were raised
Moral/Ethical/Spiritual beliefs
Fears
Loyalties
3. Figure Out The Stakes
Based on what kind of story you have, the stakes for your protagonist are going to be different.
SciFi novel about how the world is going to get obliterated by an evil force in 2 days? High stakes.
Romance novella about 29-year old Tequila Sheila who can’t seem to find a date to her brother’s wedding? Lower stakes.
And there’s nothing wrong with having higher or lower stakes—but do think about where your stakes should be for your particular story. Many stories don’t have high enough stakes for readers to be captivated; these stories need to be reconfigured, after realizing what exactly is at stake and to what degree. Understanding what your stakes are can help you figure out what kind of reading experience your book will be.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
I’m wondering, how do I come up with good ideas to write a sub-plot that actually fits into the story and won’t make the reader lose the connection with the main plot?
How to Write A Sub Plot
If you look back on every single bestselling book ever printed, the chances are that most, if not all of them, contain sub-plots.
A sub-plot is part of a book that develops separately from the main story, and it can serve as a tool that extends the word count and adds interest and depth into the narrative.
Sub-plots are key to making your novel a success, and, although they aren’t necessary for shorter works, are an essential aspect of story writing in general.
However, sub-plots can be difficult to weave into the main plot, so here are a few tips on how to incorporate sub-plots into your writing.
1. Know Your Kinds of Sub-Plots and Figure Out Which is Best For Your Story
Sub-plots are more common than you think, and not all of them extend for many chapters at a time.
A sub-plot doesn’t have to be one of the side characters completely venturing off from the main group to struggle with their own demons or a side quest that takes up a quarter of the book. Small things can make a big difference, and there are many of these small things that exist in literature that we completely skip over when it comes to searching for sub-plots.
Character Arcs
Character arcs are the most common sub-plot.
They show a change in a dynamic character’s physical, mental, emotional, social, or spiritual outlook, and this evolution is a subtle thing that should definitely be incorporated so that the readers can watch their favorite characters grow and develop as people.
For example, let’s say that this guy named Bob doesn’t like his partner Jerry, but the two of them had to team up to defeat the big bad.
While the main plot involves the two of them brainstorming and executing their plans to take the big bad down, the sub-plot could involve the two getting to know each other and becoming friends, perhaps even something more than that.
This brings me to the second most common sub-plot:
Romance
Romance can bolster the reader’s interest; not only do they want to know if the hero beats the big bad guy, they also want to know if she ends up with her love interest in the end or if the warfare and strife will keep them apart.
How to Write Falling in Love
How to Write a Healthy Relationship
How to Write a Romance
Like character arcs, romance occurs simultaneously with the main plot and sometimes even influences it.
Side-Quests
There are two types of side-quest sub-plots, the hurtles and the detours.
Hurdle Sub-Plots
Hurdle sub-plots are usually complex and can take a few chapters to resolve. Their main purpose is to put a barrier, or hurdle, between the hero and the resolution of the main plot. They boost word count, so be careful when using hurdle sub-plots in excess.
Think of it like a video game.
You have to get into the tower of a fortress to defeat the boss monster.
However, there’s no direct way to get there; the main door is locked and needs to have three power sources to open it, so you have to travel through a monster-infested maze and complete all of these puzzles to get each power source and unlock the main door.
Only, when you open the main door, you realize that the bridge is up and you have to find a way to lower it down and so forth.
Detour Sub-Plot
Detour sub-plots are a complete break away from the main plot. They involve characters steering away from their main goal to do something else, and they, too, boost word count, so be careful not too use these too much.
Taking the video game example again.
You have to get to that previously mentioned fortress and are on your way when you realize there is an old woman who has lost her cattle and doesn’t know what to do.
Deciding the fortress can wait, you spend harrowing hours rounding up all of the cows and steering them back into their pen for the woman.
Overjoyed, the woman reveals herself to be a witch and gives you a magical potion that will help you win the fight against the big bad later.
**ONLY USE DETOUR SUB-PLOTS IF THE OUTCOME HELPS AID THE PROTAGONISTS IN THE MAIN PLOT**
If they’d just herded all of the cows for no reason and nothing in return, sure it would be nice of them but it would be a complete waste of their and the readers’ time!
2. Make Sure Not to Introduce or Resolve Your Sub-Plots Too Abruptly
This goes for all sub-plots. Just like main plots, they can’t be introduced and resolved with a snap of your fingers; they’re a tool that can easily be misused if placed into inexperienced hands.
Each sub-plot needs their own arc and should be outlined just like how you outlined your main plot.
How to Outline Your Plot
You could use my methods suggested in the linked post, or you could use the classic witch’s hat model if you feel that’s easier for something that’s less important than your main storyline.
3. Don’t Push It
If you don’t think your story needs a sub-plot, don’t add a sub-plot! Unneeded sub-plots can clutter up your narrative and make it unnecessarily winding and long.
You don’t have to take what I’m saying to heart ever!
It’s your story, you write it how you think it should be written, and no one can tell you otherwise!
Hope this Helped!
How I turned an idea into an outline
With NaNoWriMo around the corner, I thought I might show you how I plotted my novel.
This is the story structure I used:
0% inciting incident
0%-20% introduction in the world, ends with a point of no return
20% first plot point: the hero receives his marching orders
20%-50% response to the first plot point
35% first pinch point: reminder of the nature of the antagonistic force
50% midpoint: big fat plot twist that changes the hero’s AND reader’s experience
50%-80% attack: the stakes are higher now
65% second pinch point: again reminding the reader of the antagonistic forces at hand
80% second plot point: the final injection of new information into the story to give the hero everything she needs to become the primary catalyst in the story’s conclusion (no new information past this point)
80%-100% resolution + final conflict + return home
I didn’t make this up. I think it’s by Larry Brooks, if The Internet informs me correctly. Fun Fact: once you pay attention to it, you’ll see this structure everywhere. Just take a look at any Harry Potter book, for example.
These points are the “bones” of my story. Next, I decided what “flesh” to put on them.
I simply made a list of things I like to read about:
Books about books and libraries
Magic
Quirky characters
Intelligent, fast-paced and sometimes silly
So, I combined this list and the structure points into a story that makes sense. Because I don’t want to spoil my plot / I am still to shy about my wip, I will make up a new plot for this post, so I can show you.
0%: The hero does something magical without knowing how she did it. She discards it, because everybody knows it can’t have been real.
0%-20%: We see the daily life of the hero: she is unhappy because all she wants to do is read, but she is not allowed to. She reads in the dead of night and is punished for it by her evil stepcousin. She finds a book on magic.
20% It all clicks together: she can do magic!
20%-50% The daily life for the hero changes. Instead of reading all night, she practices magic. She now loves books even more. She has little victories over her evil stepcousin, but hasn’t won yet.
35% The evil stepcousin finds out that she can do magic and takes away the magic book.
50% She discovers she can do magic without the book.
50%-80% The hero is not the only one who is bullied by the evil stepcousin. Her younger cousin is a victim as well, and he doesn’t have magic to defend himself. The stakes are raised, this is bigger than herself now. The younger cousin also wants to read, so they have several bonding moments over reading.
65% The evil stepcousin hurts the younger cousin, he’s in a coma now.
80% The hero discovers the evil stepcousin could do all these evil things because he knows magic too.
80%-100% The hero confronts the evil stepcousin, fights him off, nearly loses but wins in the end. He gives up and releases his power over the younger cousin who wakes up from the coma.
It’s not the most genius plot ever, but I literally made this up in minutes. So can you! And imagine the genius plot you can come up with if you spend more than a few minutes on it.
Then I calculated how many scenes I need in which part of the story. My wip is a YA or 12+ book, so I want it to contain about 75,000 words in total. I want my scenes to be around 1,000 words long to keep it snappy, so I need 75 scenes.
Scene number 1 (0%) is the inciting incident, scene number 15 (20%) is the first plot point, scene number 26 (35%) is the first pinch point, scene number 37 (50%) is the midpoint, scene number 49 (65%) is the second pinch point, scene number 60 (80%) is the second plot point and scene 75 (100%) is the last scene.
Some sidenotes on the 1,000-word scenes:
That’s more of a vague rule of thumb than a strict rule. If your scene needs to be longer or shorter, make it longer or shorter of course. My wip has some 2,300-word scenes as well.
Having 1,000-word scenes does not mean I have 1,000-word chapters, that would be really short. I will divide my novel into chapters after I’m finished writing my first draft.
For NaNoWriMo, maybe you could write scenes of 1,667 words, so you do one scene per day. A 50,000-word novel has 30 scenes of 1,667 words. Inciting incident is at scene 1, first plot point at scene 6, first pinch point at scene 11, midpoint at scene 15, second pinch point at scene 20, second plot point at scene 24 and scene 30 is your last scene. That’s just an idea, you got to see what works for you.
Then I made up in one sentence what will happen in every scene. For example: “They meet the dragon and he sends them on a sidequest.” Now my outline consists of 75 one-sentence scenes. This way, I prevent the problem of the sagging middle and other pacing problems and I still get to surprise myself when writing.
From those one-sentence scenes, I flesh out every scene into a first draft, using the process I described in my post How I never have to face an empty page when I write.
And that’s my first draft! I hope everything is clear. Feel free to ask me questions if it isn’t.
I’m gonna tag a few people I admire, who I hope are interested. If you aren’t, feel free to ignore me, or message me to take you off my tag list. If you would like to be added to my writing advice tag list, let me know.
Keep reading
Gogspeed, Sis!
this is the most beautiful woman i’ve ever seen in my entire life
I literally had to close my laptop and catch my breath goddamn…
*proud lesbian noises*
THIS RIGHT HERE
You guys are dangerously close to realizing specifically what kinds of people they keep from voting and why.
I want to drill this into everybody’s head:
The United States of America has the highest prison population in the world
Black Americans and Latin people make up the majority of this population (many of whom are non-violent offenders)
Federal Prisons in America require that their state keeps their prisons at a maximum occupancy at all times.
The 13th amendment did not entirely abolish slavery…just one form of it. It remains legal through industrial prison system
Mighty Morphin Power Rangers #0 variant cover art by Goni Montes.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
So proud of you for this. Nobody else stepping up is the reason we as women get scared when dealing with strange men. Because she like this be happening and nobody wants to say anything and even when somebody does the attacker usually gets hosyile for not getting what they want. That shit is scary. And you know a black man is in more danger for getting involved than a white man. Because of our fucked up society - if he had been a white man that defended himself against a child predator, he would never have been cuffed. To the men out there, please do something if you see something, it is never wrong to stand up for a child who may not have a voice to speak for themselves.
Watch: Chika Okoro’s must-see TED Talk exposes the damaging effects of colorism.
Follow @this-is-life-actually
This is sad af.
I’m disgusted
I didn’t realize I wasn’t re blogging this every time I saw it, but I see it frequently and think about it often. Just yesterday I quoted it. I hope you all reblog this for others to see.
I always reblogged this when it pops up in my TL I’m still just as DISGUSTED as I was when I first read it. . . No other group of women on this earth have to worry about this bullshit yet mfs love saying colorism is a myth yeah ok