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@ruth-lund
May the Fourth be with you

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Holy SHIT.
THE ONLY ONE ALLOWED TO SIT THERE SHOULD BE THE ARTIST AND THEN IT SHOULD GO BE IN A MUSEUM.
Hand made crafts should be worshipped for the art they are.
i respect this SOOOOO much more than any iron sword throne chair
This one involves way more stabbing
SHE BOUGHT A PEACOCK
I go hard with my embroidery but I have never goneĀ ābring roadkill indoorsā hard
Fuji (by Outback Finder)
A few tips for coming up with content for your story
So. Youāve got a story. Youāve been hard at work writing it/planning it, when suddenly, you hit a block. You donāt know what to add next in your story.Ā
Now what?
Donāt worry - I am here to help give you some ways to come up with that juicy new content.
1) Think through your story when youāre relaxed.
Thereās a reason we get all of our best ideas when weāre driving home from work/school, or just about to fall asleep, or in a shower. Itās because, usually, weāre pretty relaxed. When that happens, your brain decides itās got permission to explore, since itās not actively trying to keep you from getting eaten by tigers or whatever analogy people use to talk about modern-day stress responses.
Pretty much, find a way to relax. Then think through aspects of your story surrounding the content gap. What might need to happen in order to bridge that gap? The best part about this method is that itās surprisingly effective - so long as youāre actively thinking about your story - and you also get to practice some self care at the same time. So for all you folks who feel guilty about taking care of yourself (please, please take care of yourself), hereās your workaround.
(This is a sort of medium-long post, so iāve put the rest of the tips below the cut)
Keep reading

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can we talk about Legolas in the back tho
I feel like I need to rewatch the entire series just focusing on Legolas.Ā Ā
Itās worth it.
The best part of this post is Orlando Bloom literally had no idea what was going on 95% of the time. He said in an interview once that no one ever told him anything and he just stood in the back ground making faces.
I like to imagine that this is true of the character as well as his actor; Legolas is a bit of an airhead by elven standards, and he honestly hasnāt the slightest idea whatās going in during most of the scenes he appears in. Heās just cultivated a knack - through centuries of practice - for picking up just enough clues from context to make grand, vaguely apropos pronouncements at appropriate junctures, thus giving the impression that heās a lot more tuned in than he really is. His internal monologue is something like:
āOh, hell, theyāre looking at me. I should probably say something - okay, how was that? Yeah, theyāre all nodding; whew, bit of an arrow dodged there. Back to thinking about kittensā¦ā
Identifying Harmful Repetition in Your Writing
Something Iāve encountered ad nauseam over the last few projects Iāve edited is a relentless repetition of words, phrases, and ideas. One of the most frustrating and confidence-destroying issues a reader can encounter is poorly executed repetition, which can stem from different problems, including:
Too much reliance on your natural stock phrases.
Limited vocabulary.
Not proofreading close enough or editing thoroughly enough.
Lack of confidence.
Not writing with the reader in mind.
I want to preface this with the fact that obviously certain types of repetition arenāt bad. Repetition is an incredibly powerful tool when used effectively, and whatās effective is subjective per book and per reader. Thatās a massive topic for another time. This post is specifically about egregious uses of repetition, the types that any good editor or beta reader will point out as in need of fixing.
Keep reading
I hope you donāt mind, but I slowed the gif down because that is a FANTASTIC move.
The sword clearly cuts his wrist and waist. I mean he took the guys sword away, sure, but also fucked up his own ability to fight at the same time. Itād be one thing if he was wearing armor, but this is like a dueling thing.
I think you give too much credence to a Swordās ability to cut. This is from the manual I practice, āIl Fior di Battaglia,ā āThe Flower of Battle,ā by Fiore dei Liberi. I have performed this maneuver, and Iāve gotta say, when done right, it feels good.
Point being, if you do it right, when you pivot around your guard and bring the pommel around the blade, your wrist does come into contact with the edge, but there is no sliding motion, and itās that sliding motion that causes a blade to slice. You pivot, pull against the blade, and it goes flying as your wrist pulls away from the edge.
Iāve never made a blade go flying so far as the guys in this video, but even if I did, the blade doesnāt have the right kind of leverage and power behind it to cut into his waist there. It would strike him, and he might feel it, but I doubt it would even scratch his clothes.
I wrote one of my characters doing a similar move to disarm someone in a couple seconds, now I finally have a concrete picture of exactly how
2 Tricks for Scene Transitions
As novelists and short story writers, we probably donāt think about scene transitions too much. Donāt get me wrong, we may take a long time seeking out the perfect hook or the most-intriguing opening, and we may write and rewrite the end of the scene to get it just right. But when it comes to moving from one scene to another ⦠itās probably something we feel more rather than really think about.
And thatās okay, and you can be totally successful that way.
But last year I learned about two scene transition techniques that have stuck with me. Unsurprisingly, they come from film, a medium where scene transitions are more obvious and more touchy.
Lately Iāve been more and more mindful of them in my writing and have found they can be quite helpful when trying to get the flow between passages just right.
They come from the book Story by Robert McKee.
In it, McKee explains that when it comes to successful scene transitions, you really have two options:
1 - Emphasize a likeness between the end of the last scene and the beginning of the next scene.
2 - Emphasize a difference between the end of the last scene and the beginning of the next scene. (aka, create contrast, as I like to say)
In reality, both of these approaches can be super helpful in other aspects of writing, but letās stick to the subject today, which is scene transitions.
While the likeness and difference can be obvious, most of the time, itās better that they are not too obvious, so they donāt draw undue attention to themselves.
McKee gives some great examples:
1 - A characterization trait. In common: Cut from a bratty child to a childish adult. Ā In opposition: Cut from awkward protagonist to elegant antagonist.
2 - An action. In common: From the beginning of lovemaking to savoring the afterglow. In opposition: from chatter to cold silence.
3 - An object. In common: From greenhouse interior to woodland exterior. In opposition: From the Congo to Antarctica
4 - A word. In common: A phrase repeated from scene to scene. In opposition: From compliment to curse.
5 - A quality of light. In common: From shadows at dawn to shade at sunset. In opposition: From blue to red.
6 - A sound. In common: From waves lapping a shore to the rise and fall of a sleeperās breath. In opposition: From silk caressing skin to the grinding of gears.
7 - An idea. In common: From a childās birth to an overture. In opposition: From a painterās empty canvas to an old man dying.
Obviously these examples are aimed at film, but you could make them all work in a short story or a novel, should you want to.
Basically, these approaches help with flow.
They can also be great at smoothing over subjects and ideas that may be repeating.
Recently, I was working on two consecutive scenes, with two different sets of characters, and each touched on the subject of fasting (long story short, it relates to a magic system/worldbuilding thing I have going on). I was wondering how to address this without sounding repetitive, when Robert McKeeās advice came to mind.
I realized the best idea was to have scene āAā end with the viewpoint character breaking a fast and have scene āBā start with the viewpoint characterās stomach groaning.
Seems simple, but it solved my problem and helps the reader transition smoothly from one passage to the next. I also donāt have to circle around back to a subject I was already just addressing.
Obviously you donāt have to do this sort of thing every time, but they are helpful tricks for when you want to get that flow just right.
Ideally in the same sentence, or in one coming soon after, you plant in a great hook. And get the setup in. And get the characterās goals. And get the stakes ⦠and, yeah, you get the idea (scene structure will be another day).
Anyway, I hope these simple techniques are helpful to you!
Always reblog

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Iām SO excited to share with you guys the newest piece for Brandon Sanderson!Ā āHeir of the Survivorā is featured in the brand new leatherbound edition of The Well of Ascension, in Brandonās store now.Ā This piece was a challenge but I feel immensely grateful for the opportunity to contribute to these books, even in just a very small way.Ā
How to Choose the Right Point of View for Your Story
(You can download a free, printable Point of View Cheatsheet to go along with this post in my Free Resource Library! If you are already a subscriber, check your inbox for the login information. Or just keep reading!)
Point of View: An Introduction
Simply stated, point of view is the vantage point from which a story is told. But point of view is much more complicated than that. It encompasses everything from who the narrator is (the author? a character?) to what attitude they have about the story theyāre telling.
When the point of view for a short story or novel has been thoughtfully constructed, it acts nearly invisibly. But lose your footing, even briefly, and the reader will immediately sense something is off. Even subtle inconsistencies in a storyās point of view can pull us out of the moment.
With the stakes so high, itās important to make deliberate, thoughtful choices about point of view. Yet all too often, this show-stopping element of fiction writing takes a backseat to writersā concerns about plot and character. But point of view isnāt an easy gimmick or a frivolous choice to be taken lightly. Point of view, when used correctly, is the story.
Let me repeat that. Point of view IS the story.
Say your novel is about a woman who murdered her husband. You could tell that story from the perspective of the woman, 20 years later, looking back regretfully on what happened⦠or from the perspective of a burned-out detective, during the investigation⦠or from the perspective of her dead husband, from the afterlife, as he watches his wife suffer in prison⦠or from the perspective of a deaf child who witnessed the crime, and is now traumatized for lifeā¦
But those arenāt just ādifferent spinsā on the same story. They are all completely different stories.
The infinite subtleties and endless possibilities of point of view are too much for a single blog post. But Iād like to share some point of view basics with you as a jumping off point.
Hereās a list of the five most common points of view, and how to decide which is right for you. I also made a free, printable Point of View Cheatsheet that you can download in my Free Resource Library. š
The Five Basic Points of View
The five basic points of view are first person, second person, third person limited, third person omniscient, and multiple point view. Choosing between them can seem overwhelming at first, but you can simplify your decision by thinking of them as existing on a continuum between perspective and intimacy.
Keep reading
The Ultimate āsomething is wrong with this story and I canāt tell whatā Tool Kit, ft. Some Bonuses.
*tools for general use, but especially when you gotta get something fixed. AKA a thing I wish everyone had because problems become real obvious when you know what to look for.
Something about the prose is bothering me. Look for:
Tonal dissonance between individual words: think of it as words being colors. Tone=Color. The question is whether the colors match. Especially look at adjectives for colorful words, but verbs and adverbs tend to be strong in tone as well. You can use words that mean very different things together and the reader might not really notice so long as the tones match well enough. See, the characterās warm, effervescent personality makes more sense than their balmy, effervescent personality. Itās off even if you are down for atypical word usage. (One among many reasons writers dislike thesauruses.)Ā
Tonal dissonance between words, characters and readers: itās important to keep in mind that when we talk about word ātone,ā we mean emotion. The tone of warm is appealing and the tone of balmy is gross. Therefore, you have to make sure that the words you choose carry the same emotion you want your reader to feel. Most writers do that intuitively, so itās a case of something being so obvious you forget to consider it. But as well as mood matching what your reader should feel, also be aware of how those adjectives represent what the character is feeling. If the character is pissed off and you go on about how āwarmā the other characterās personality is, thatās dissonant.
Show-donāt-tell (otherwise termed ātrust your audienceā): Part of the fun of reading is filling in the blanks. Look for places where you might be over-explaining, places where you state something outright (especially if you do it more than once), and try to scale back. Sometimes youāll find you can just delete the statement, because you implied it well enough elsewhere. This is possibly the most common piece of advice because over-telling is the quickest way to piss readers off.
And hereās a quick grab-back of common, easy to identify problems: tenses, repeated words (easiest to use search+replace function), active v.s. passive voice (just make sure itās consistent for now), sentences all the same structure/length (try moving your subject around), and a problem with adverbs (assess the adverb and if it doesnāt add something new to the verb before it then itās not useful).
I think itās the characters?? Look for:
Keep reading
Get to know me tag game
Rules: Answer these questions, then tag people you want to get to know better or catch up with.
I was tagged by @karriezai. Thank you!
Three Ships: I donāt generally get super invested in character relationships, so usually my ships just follow canon by default. Naruto/Hinata. Elizabeth/Darcy. You get the idea. I did want Harry and Hermione to get together though. I thought her personality and Ronās didnāt fit together well enough at the time, but opposites attract too and they did go through a lot together so eh. My feelings about it have mellowed out (and they werenāt strong to begin with anyway)
Last Song: Apocalypse Tomorrow by Alliance.Ā
Last Movie:Ā Bleach (Live-action. I thought it was rather good, surprisingly!)
Currently Craving: Water
Currently Reading: White Sand 2 by Brandon Sanderson, itās less riveting than most of his other stuff, but there is some mystery to how the main characterās power works (or rather, to what degree he can use it) that Iām interested in seeing answered (if it will be).
Tagging: @thephantomofwriting @bebewrites @ardawyn @aurumni-writes @sheabutterskyes
a small Texture Tutorial
Iāve been asked a few times about how I use textures, especially gold textures, so Iāve decided to try and do a little tutorial about it. Iāve never really done a tutorial, but I hope itās easy to understand, since itās not difficult to apply :)
There are a hundred ways of doing the same thing, this is just one of those ways. For other (BETTER) tutorials explaining more about textures and other ways to use them, I point you all towards the 3 tutorials that taught ME the basics!
TUTORIAL: how to use textures by agosbeatle
TUTORIAL: Applying texture by Shinerai
Texture tutorial by Tervola

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A limerick:
Doesnāt look like a limerick to you? Try this:
AĀ dozen, aĀ gross, and aĀ score Plus three times the square root of four Divided by seven Plus five times eleven Is nine squared and not a bit more.
THE HECK HECK HECK HECCCCCKKKKKKKK
POETRY WAS NOT MEANT TO BE USED LIKE THIS
Wandered into an article with 140 iconic cinematic shots, the comments complained there was no explanation to their composition. Decided to give it a run down and keep it to myself.Ā
The compositions are mostly self explanatory but I wanted to see what patterns I could find. Thatās just how you learn stuffs.Ā
This is super good as a guide for planning out drawings or aesthetic edits, too!