this fanfic shit is easy
Claire Keane
we're not kids anymore.
ojovivo
Jules of Nature
PUT YOUR BEARD IN MY MOUTH
taylor price
I'd rather be in outer space 🛸

Origami Around
hello vonnie
Misplaced Lens Cap
sheepfilms

roma★

★
h
One Nice Bug Per Day

Kaledo Art

oozey mess

pixel skylines

ellievsbear

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@ransomnoteworthy
this fanfic shit is easy

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Not enough jobs are willing to do training anymore, no matter what the situation. Grocery stores won't teach you to work a cash register, businesses won't teach you how to use their programs, even the arts won't teach you anything
Everyone wants a triple threat, expects you to just have those skills. In the old days? you could show up to a random theater barely able to dance and they'd teach you, and then the incel living in the walls would make you a world class singer and actor and you'd be headlining your own show in a few years
this is also a hawkeye mood but the idea of radar assigning himself “haunted doll” sends me into hysterics
One hot and cool writing tip that I wish more people knew is... you don't have to write out people's accents phonetically. You just don't. You are not Dickens. You are (hopefully) not Rowling. There are so many other ways you can make someone's speech feel authentic to their background, or just make it clear that they're speaking in a certain accent, not limited to:
literally just saying 'he spoke with a Welsh accent'; sure, it's a bit blunt, but it gets the job done in a pinch. "He's completely drunk," he said, his southern drawl lingering on the final syllable as if to highlight the extent of the offence. Y'know, something of that ilk, but not as shit.
learning the specific vocabulary and syntax that someone with that accent might use. Sticking with the Welsh theme, because it's objectively the best accent*, there's a bunch of things that differentiate a colloquial South Walean accent, outside of our famed tendency to elongate a vowel to the point of death. The way we use prepositions (where to by is he?), the vocabulary borrowed from Welsh - saying that someone daft is twp, or something small is dwty - can easily signpost our speech as being from that specific area, without needing to type something like "'e's absolutely 'angin', man, pissed as a faaht 'e is!" Something less jarring, such as "He's absolutely hanging, he is." is just as clear. A character who says "Do you want a cuppa?" is coded or located very differently to one who says "You'll have a cup of tea, so you will."
ditto if there are specific ways that someone from a certain area might refer to a well-known concept. Regional words for mother and father, for example, or words that are class-specific; your character who calls his parents 'mater and pater' is likely inhabiting a different socioeconomic strata than your character who calls them 'mam and dad'. See if there's a colloquial way of saying 'yes' and 'no'; a lot can be signposted if your character says 'nah' rather than 'no', or 'aye' rather than 'yes'. A character saying 'couch' is inherently coded differently to one who says 'sofa'.
The reasons that writing accents phonetically is Generally Ill-Advised, In My Opinion are as follows:
quite simply, you're probably not being as clear in conveying the sounds of the accent as you think you are. Taking JK Rowling's work as the best possible example of this, her attempts at writing a Cockney accent phonetically come across like someone is chewing a mouthful of cheese curds and struggling to contain them. There's no consistency, no proper understanding of how to transcribe syllables into writing in a way that coherently conveys the accent she's trying to portray. I mean this so seriously, but what the flying fuck is: 'Well, 'e 'ad these 'ead pains and 'e was def'nitley nervous. Depressed maybe.' It's a crime, is what it is.
it's just plain hard to read. Trying to wade through sentences full of apostrophes and elision, parsing what's actually being said, gets tiresome. It asks the reader to do work that you're actively making harder for them. And that's not always a bad thing! Making readers Put Some Fucking Effort In can be very fruitful! But do you really want them to be struggling to understand every single thing that your Character B is saying for 350 pages?
which leads me onto the last point, and the most important in my mind: writing out accents like this always, always affects accents that are already in some way Othered. They're either racialised or working class, or associated with certain local regions that have negative stereotypes - think the deep South of the US, or the Welsh Valleys. They're never the 'default'. And this raises thorny questions about what the default is, what the standardised accent is, the accents that do and do not merit differentiation from the norm. You're relegating Character B to being hard to read because he's from, idk, Sunderland. You've decided that he isn't speaking 'properly', and therefore the reader needs to understand that other people think he's speaking weirdly. That, to me, is the principle issue. Because returning to JK Rowling (a sentence I hoped never to type), the only characters who speak like this in her work are working class, or they're from other countries. They're never from, you know, Surrey. Wonder why that is. And it's easy to be glib about it, but I do think it reifies class and regional boundaries in a way that's ultimately harmful.
This isn't to say that there's never a place for eye dialect in writing - Trainspotting, for example, wouldn't be what it is without it, and there's definitely a different conversation to be had when it's your own accent and you're making a deliberate point about identity by differentiating through eye dialect - but I think that the blanket assumption of 'oh shit, my character is from Ireland, I'd better type that out phonetically!' can actually be both damaging to your writing and to your character representation, and I think that instead doing the work to really understand the vocabulary, speech patterns and unique aspects of a language or dialect always makes a work feel more authentic and lived-in.
To wit, less of this shite:
There’s mony a slip, an’ I’m no losin’ sight o’ any o’ my suspectit pairsons, juist yet awhile. (Peter Wimsey, if you were wondering, and yes, that's supposed to be Scottish)
and more of this:
"Are we straight so?" "Aye, we're straight," said Jim. "Straight as a rush, so we are." (Jamie O'Neill, Irish, from At Swim, Two Boys)
*objective determination made via a sample size of one: me, in an elaborate hat.

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Shane is never gonna see that flannel again btw. It’s going straight in Ilya’s suitcase and back to Boston with him. He wears it when he’s missing his man. Which is constantly. He wears it on flights sometimes. Maybe a lot of the time. Several years down the line the cuffs are frayed and several buttons are missing and Shane finds it in a drawer and barely remembers that it was once his. The only reason he remembers is because one of his most revisited memories of that first cottage summer is seeing Ilya wearing that shirt and the triumphant, roaring animal it awoke in his chest to see Ilya Rozanov wearing fucking plaid and knowing he was the reason.
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They move in together full time and Ilya notices that Anya acts differently with Shane than she does with him, more quiet and less playful, and he worries that means she doesn’t like Shane or is jealous, so he hires a dog trainer to come over and see if there’s anything they need to do to help
After a while of talking about how Anya acts the trainer says there’s nothing to worry about, Anya likes Shane just fine, it’s just that she sees him as the boss and is acting accordingly
And Ilya is like. But. I’m the one who adopted her? And raised her before Shane got here?? And the trainer is just like yeah well she sees you more like an equal. And Ilya is like WAIT she thinks Shane is in charge of both of us?? And the trainer is just like well do you interact in a way that would make her think that?
Ilya’s life flashes before his eyes as he thinks of all the times Shane has come over with a snack for Ilya and a treat for Anya, or all the times Shane has announced they’re all going for an after dinner walk, or pets Ilya’s hair and tells him he did a good job at practice, or the fact that he uses the same warning tone with Anya when she misbehaves as he does with Ilya when he’s causing problems on purpose
Shane comes home to Ilya with his face in his hands going oh god I’m not Anya’s dad I’m her brother and she thinks we’re both your pets. And Shane just goes. What.
LEVERAGE | 3.08
posture check! time to make your posture worse. it can always be worse. you can get shrimpier. inspiration if you need it:
my friends hate this video so much i don’t even have to repost it in discord anymore i’ll just be in a voice call and go “wouldn’t it be crazy if the joker could beatbox” and they all tell me to go kill myself

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i’m not procrastinating. i’m allowing the story to ferment. like kimchi. or a crime scene
“how’s the writing going?” i’m glad you asked! my room has never been cleaner and i’ve decided to take up baking
To put it very bluntly.
You will always make a better impact helping people who need it than trying to hurt people you think deserve it.
You make soup in a big bowl. You serve it in a smaller bowl. And then you convey it, using a spoon, to your mouth. But what is the spoon? Simply a smaller bowl still
"Emerald Fennell's movies lack depth and complexity."
"Emerald Fennell movies are just shallow entertainment."
"Emerald Fennell has nothing new to say about anything."
"Emerald Fennell movies are all style and no substance, just pretty images with nothing underneath them."
How the hell does anyone say that in any sort of seriousness about a writer who, in her first movie all about a woman taking revenge against shitty entitled men and everyone who enables them to do things like rape women and get away with it, refused to have that woman kill anyone? Who had her main character set people up to learn a lesson about fear and the ways it can control you? Who understood that the only point at which you become incapable of learning is when you are dead, and so her main character who already knew what she cared to know and wasn't interested in moving on is the only one who winds up dead?
Emerald Fennell is not the face of anti-intellectual faux-'feminist' critique.
I'll let you fill in the blanks on who might be.
The first time I watched Saltburn, I turned to my partner at the end in complete fascination and shared an insight which I'd argue is still relevant:
Cassie may have died at the end of Promising Young Woman, but she won. She accomplished the primary goal that drove her actions throughout the whole movie, and even her death helped ensure that the man who set up the brutal gang rape of her friend would face legal consequences, including legal consequences for murder.
In contrast, Oliver Quick wound up with a massive house and obscene wealth, but he lost. He lost sight of his original goal, which was just to have friends and find acceptance from other people, and so he lost. At the end, he's alive and he's alone.
And I find that contrast fascinating.
Emerald Fennell is anything but shallow. To claim otherwise is to tell me that you haven't bothered to look for anything you weren't already predisposed to see.

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I got permission from this friend to post this because holy fuck I can't stop laughing
the moon and my man...
This is my favourite hollanov fanart ever btw op