mutual pining IS the best trope. no they’re not trying to move on, no they’re not brave enough to risk it, no they’re not trying to date other people, they don’t know they can have it but it’s okay if they can’t (but they CAN)

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@polyjus
mutual pining IS the best trope. no they’re not trying to move on, no they’re not brave enough to risk it, no they’re not trying to date other people, they don’t know they can have it but it’s okay if they can’t (but they CAN)

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your scent processing being so close to memory in your brain is insane sometimes you step outside and take a whiff and go "ah, it smells like playing pokemon emerald in my third grade afterschool program in the crisp september of 2006"
Context for the 19 year olds reading this, September used to be a bit cold
one of hoo’s foundational aspects that made me immediately go “this series doesnt get it/doesnt hit the mark” is that rick gave each new member of the seven an insane batshit specialized set of powers to shortcut justifying their inclusion in the prophecy—leo’s case might be the worst offender, with his inclusion being practically prescribed thanks to tia callida and gaea meddling so early on in his life. so the assemblage of characters for the SGP ended up as “we were special therefore we are part of this prophecy,” as opposed to the first series’ approach wherein percy becomes the GP hero after a progressive series of events, particularly thalia’s red herring and his own choice to save nico. the first series took pains to show us that yes, fate shapes the story, but character choices are capable of shaping and even possibly rising above prophecy, in line with overarching themes of personal agency and generational cycles. in the first series, percy and the big three children are specifically, intentionally, notably outliers in terms of power, which is what makes their presence in the narrative so impactful when they do appear. the new members of the seven are part of the SGP simply because the author says they are, vis-a-vis “we are the gods’ specialest little soldiers, look how much things i can make go kaboom!” but it 1) takes away the impressiveness that initially came with the big three children’s singularity, and 2) means that hoo has no personal emotional character stakes tied into the SGP other than the vague apocalyptic threat, which we know the characters will defeat anyway. and it’s not like rick even did a good job exploring the hoo characters’ powers or their implications so it was really fucked from the start lmao
The most human thing a character can do is contradict themselves.
The cynic who still carries a childhood stuffed animal.
The liar who craves honesty.
The overthinker who makes reckless decisions.
The heartbreaker who believes in soulmates.
The pacifist who holds lifelong grudges.
The tough guy who cries during old movies.
The thrill-seeker who's terrified of commitment.
The grump who’s unfailingly polite to waitstaff.
People aren’t consistent. Your characters shouldn’t be either.
“remember Peeta can camouflage himself because he’s a baker” said with a mocking tone makes me so mad because they completely misunderstand why he’s able to camouflage and why decorating cakes is mentioned in that context. Peeta was poor, a different kind of poor from the seam, but poor nonetheless. he didn’t have money for paints nor canvases. he is an artist, he creates, he uses his paintings after the first hunger games as his therapy. he loves painting, so he used whatever was available to him to show his artist soul. he was able to decorate cakes and pastries as if they were canvases because they were going to gain a profit from it, but I’m certain that in his free time he probably used the elements to draw and paint, these being water and mud and flowers and whatever he could find. plus he received official training the days before the games.
please learn how to read, stop skimming through pages to fulfil your yearly quota of books read.

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She's the Man (2006) dir. Andy Fickman
"what did students do before chatgpt?" well one time i forgot i had a history essay due at my 10am class the morning of so over the course of my 30 minute bus ride to school i awkwardly used by backpack as a desk, sped wrote the essay, and got an A on it.
six months later i re-read the essay prior to the final exam, went 'ohhhh yeah i remember this', got a question on that topic, and aced it.
point being that actually doing the work is how you learn the material and internalize it. ChatGPT can give you a short cut but you won't build you the the muscles.
Ada or Ardor: A Family Chronicle, Vladimir Nabokov
Katniss is like Lucy Gray this, Katniss is like Sejanus that, and yes fine that's all good and true and lovely but Katniss Everdeen is also a direct parallel to Coriolanus Snow and people NEED to start talking about this because it's driving me crazy.
Think about it: they both grew up poor and deeply vulnerable, losing parents at a very young age, with a matriarchal adult (Katniss' mother and Coriolanus' Grandma'am) who fails to provide for them emotionally and physically. They intimately understand the threat of starvation, even developing with stunted growth because of it, and their narrations in the books share a fixation on food. Throughout their childhoods, both experienced constant fear and suffered a fundamental lack of control over their circumstances. Because of this, they're inherently suspicious of the people around them. They resent feeling indebted to others, especially those who have saved their lives. They're motivated almost entirely by family and deeply connected to their communities. Both are used and manipulated by the Capitol, both are forced to perform to survive and despise every inch of it, both are thrown into the Arena and made to kill. Both have a self-sacrificial, genuinely sweet sister figure acting as their conscience. Peeta and Lucy Gray - performers and love interests with a fundamental kindness and sense of hope about them - fulfill markedly similar roles in their narrative. Both contribute to the development of the future Hunger Games, Snow throughout tbosas and Katniss towards the end of Mockingjay.
It's easy to ignore these similarities because, as mirrors of each other, they are exact opposites. Katniss is from District 12, viewed and treated as less than human; Snow is the cream of the Capitol crop, given the privilege of a name with social weight, an ancestral home, and the opportunity of the Academy despite having no more money than a miner from 12. Katniss has no agency over her life, and responds by being kind whenever she's able, while Snow justifies horrendous evils in order to continue his quest for complete control. Katniss does everything she can to protect her family; Snow does everything he can to protect his family's image as an extension of his own ego. Katniss loves her District and connects with its inhabitants on a meaningful level, but Snow is indifferent at best to his peers - the apparent "superior people" - and only engages with his community for personal gain. Katniss emerges from the Arena horrified at herself and the system, but Snow takes his trauma and turns it into an excuse to perpetuate the violence with himself at the top. Katniss cares for Prim until her death and then snaps at the loss of her little sister, while Snow survives on Tigris' blood, sweat, and tears and then torments and abandons her, presumably because she calls him out on his insanity. Snow actively adds to and popularizes the Hunger Games because of his vendetta against the Districts following his childhood wartime trauma - Katniss briefly agrees to a new Hunger Games (which is arguably a facade to trick Coin), but later definitively stops them from happening by killing Coin and choosing a life of peace and privacy. Snow is obsessed with revenge, but Katniss empathizes with the Capitolites and does what she can to keep them from suffering. He exists in a cruel system and selfishly upholds it; she exists in a cruel system and works to dismantle it for the good of her family and community, at great personal cost. And Peeta and Lucy Gray are incredibly similar, but Katniss and Peeta forge a relationship of genuine love and understanding that shines in comparison to Coriolanus' obsessive projection onto Lucy Gray.
So, yeah, Katniss is Lucy Gray haunting Coriolanus. But I bet you anything that eighty-something year old President Snow looks at her, the girl on fire, and thinks that he sees the ghost of his own past: bright and young and brilliant, emerging from a childhood of starvation with a relentless hunger for success, a talented and charming performer helping her win the Games. And that's why he's so afraid of her! Because if he sees himself in her, then he's up against his own cunning, his own talent for manipulation, his own charisma, his own genius. He reads her wrong, obviously, but it means that in his mind he's up against the version of himself that he could have been, with the nightmare army of his childhood at her back and her star-crossed lover at her side, spewing Sejanus' truths in his own voice. This isn't to say that Katniss ever achieved the level of power and agency that Coriolanus did during her time with the rebellion, but it is to say that Snow was taken down by what truly terrified him - his own morality, come to finish the job.
What to Give a Sh*t About While Brainstorming Your Book
(A.K.A. Before You Even Touch That Shiny Blank Page)
↳ What You’re Actually Obsessed With Stop trying to write what’s trendy. What do you spiral about at 2 a.m.? What ideas make you grin like a gremlin and mutter, “Ohhh, that’s juicy”? That’s your story. Chase that weird, niche, can’t-let-it-go stuff. Your obsession will be the fuel that drags you through chapter 27 when everything sucks and you kind of want to fake your own death.
↳ Your Story’s “Why the Hell Should Anyone Care?” Not in a mean way. But genuinely—why should a stranger give up sleep to read this? What itch does it scratch? What feeling does it deliver? Figure that out early and let it guide you like a tiny emotional compass. If you can’t answer it yet, cool. But keep poking at it until you can.
↳ A Character With Big, Messy Feelings Don’t start with a plot. Start with a person. A disaster with a wound and a want. Someone who wants something so badly it makes them do unwise things. Get to know them like a nosy therapist. Let them tell you what kind of story they want to be in.
↳ Conflict That Isn’t Just Vibes Mood boards are fun. But conflict is what makes a story move. Make sure you’ve got some stakes, emotional, relational, existential, literal. If your idea doesn’t have anything to push against, it’s not a story yet. It’s an inspiration board.
↳ A Rough Emotional Shape Not an outline. Not yet. Just… the feeling. Where does it start (lonely)? Where does it go (rage)? Where does it end (hopeful)? Think of your book like a rollercoaster. You need the high points, low points, and those slow creaky climbs that make people scream. If it’s all flat? Snoozefest.
↳ The One Vibe You Want to Nail Every great book has a thing. An atmosphere. A flavor. Your job during brainstorming is to catch the scent of it. Is it spooky and tender? Funny and tragic? Cozy but secretly brutal? Whatever it is, write it down. Tattoo it on your brain. Let it infect every scene.
↳ Something You’re Scared to Write About You don’t have to go here. But if something in your gut says, “Oh god, I could never write about that”… maybe poke it. Maybe there’s gold in there. Maybe the story wants to heal something. You don’t have to bleed for your art—but if it makes you uncomfortable in a thrilling way? That’s your fire.

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Moral Dilemmas That Will Mess Up Your Character
» They witness a crime but helping the victim means exposing a secret that could ruin someone they love.
» They could save someone’s life… but only by hurting someone else.
» They’re offered everything they’ve ever wanted, by the worst person they know.
» They have to lie to protect someone, but the lie costs someone else dearly.
» They can bring justice, but only by breaking a promise.
» They’re given power, but to keep it, they have to become what they hate.
» They have the chance to take revenge, and it would be so easy. So satisfying.
» They’re the only one who knows the truth, but telling it would destroy someone’s faith.
» They could protect the many, by sacrificing the one. And the one matters to them.
» They promised not to get involved, but walking away would haunt them forever.
» They were wrong and admitting it now will shatter their credibility.
» They’re asked to forgive, and they know the person doesn’t deserve it.
» They have to pick a side, but both sides are flawed. Both will cost them something.
» They want to help, but they’re not sure it’s their place.
» They said they’d never become their parent and now they’re staring in the mirror, wondering if they already have.
» They catch their friend doing something terrible, but they owe them everything.
» They can’t tell if they’re protecting someone, or controlling them.
» They get what they want, but someone else suffers for it.
» They promised to keep a secret, but now someone innocent is getting hurt.
» They fall in love and realize it compromises everything they believe in.
Emotional Walls Your Character Has Built (And What Might Finally Break Them)
(How your character defends their soft core and what could shatter it) Because protection becomes prison real fast.
✶ Sarcasm as armor. (Break it with someone who laughs gently, not mockingly.) ✶ Hyper-independence. (Break it with someone who shows up even when they’re told not to.) ✶ Stoicism. (Break it with a safe space to fall apart.) ✶ Flirting to avoid intimacy. (Break it with real vulnerability they didn’t see coming.) ✶ Ghosting everyone. (Break it with someone who won’t take silence as an answer.) ✶ Lying for convenience. (Break it with someone who sees through them but stays anyway.) ✶ Avoiding touch. (Break it with accidental, gentle contact that feels like home.) ✶ Oversharing meaningless things to hide real depth. (Break it with someone who asks the second question.) ✶ Overworking. (Break it with forced stillness and the terrifying sound of their own thoughts.) ✶ Pretending not to care. (Break it with a loss they can’t fake their way through.) ✶ Avoiding mirrors. (Break it with a quiet compliment that hits too hard.) ✶ Turning every conversation into a joke. (Break it with someone who doesn’t laugh.) ✶ Being everyone’s helper. (Break it when someone asks what they need, and waits for an answer.) ✶ Constantly saying “I’m fine.” (Break it when they finally scream that they’re not.) ✶ Running. Always running. (Break it with someone who doesn’t chase, but doesn’t leave, either.) ✶ Intellectualizing every feeling. (Break it with raw, messy emotion they can’t logic away.) ✶ Trying to be the strong one. (Break it when someone sees the weight they’re carrying, and offers to help.) ✶ Hiding behind success. (Break it when they succeed and still feel empty.) ✶ Avoiding conflict at all costs. (Break it when silence causes more pain than the truth.) ✶ Focusing on everyone else’s healing but their own. (Break it when they hit emotional burnout.)
i genuinely do just think it's transparently regressive in a weird turnaround way that the only way the people of this website enjoy a het ship is if the ENTIRE focus is on how awesome and hot and perfect and unstoppable a woman is and how the man is like there to make googly eyes at her and get like nonspecifically dommed-by-implication and we never get ANY thoughts about what she sees in him or what emotional needs are fulfilled for her besides the implication that what every woman wants is someone whos obsessed with her. you people love to find new creative ways to ignore womens interiority
This is not a men’s rights post if you want to do mra shit make your own post
One of the advantages (and disadvantages, sometimes, of course) of writing fanfiction is that the readers, on average, have a vast and intimate understanding of the fictional world. With this, there's generally greater opportunity for dramatic irony, compared to, let's say, the first novel in an original fiction series. A fanfiction author gets to allude to something vaguely in the very first paragraph, do a fun little wink, and the audience goes, "Oh ho ho! I saw that! I know what's going on! That's going to be fun later!"
Anyway, one of my favorite little winks is when a perspective character is unknowingly referencing someone they and the story haven't met yet, positively or negatively. In original fiction, a reader gets this joke on the reread. In fanfiction (or in sequels or companions or anything where the reader might have a greater familiarity with the world), a reader gets to relish the dramatic irony more immediately.
"Ugh, what kind of person would do that kind of ridiculous thing?!" <- Character who is unknowingly talking shit about someone very specific, possibly the future love of their life.
no i dont think women starving themselves and reconstructing their entire faces with makeup and plastic surgery is feminism and female empowerment

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Kinda in love with the idea that different places on other sides of the world can look so similar. Something something universal human experiences
Like. Kyrgyzstan and Switzerland?
Miami and the Gold Coast (in Aus)
New Zealand and Oregon
The great plains and the Russian steppe
India and fiji
Gonna consolidate a couple additions/recommendations from others
Napa Valley, California and Tuscany, Italy
Appalachians in America and the Grampians in Australia
Black sand beach in Iceland and New Zealand
Aurora borealis and australis
Congo and Amazon rainforest/river
desert roads in Australia, South Africa, Argentina, and Mexico
Mountains in France and Korea
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