â.àłàż*: . . . that's all .

Kiana Khansmith
Jules of Nature
will byers stan first human second
Claire Keane
let's talk about Bridgerton tea, my ask is open
KIROKAZE

Kaledo Art
todays bird
Cosimo Galluzzi

@theartofmadeline
wallacepolsom
noise dept.

tannertan36
hello vonnie
Xuebing Du
h
TVSTRANGERTHINGS
ojovivo
Stranger Things

seen from United States
seen from Brazil
seen from Austria
seen from United States

seen from Argentina

seen from United States
seen from United States

seen from Malaysia

seen from United States
seen from United States
seen from Pakistan

seen from Malaysia
seen from Brazil

seen from Brazil
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seen from United States

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seen from United States
@ruthlxc
â.àłàż*: . . . that's all .

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donât we all agree? đźâđš
i want what they have
pov: you went through andy's gallery
fics where andy has a child whom miranda is fond of pls
Hey Nonnie
There is indeed an exact list for this. I highly recommend the Miranda's Runway series, The Knight Before christmas and the Harper series. Happy Reading
Miranda Adores Andyâs Child Mirandy Fics
A Knight Before Christmas by Literary Assassin https://archiveofourown.org/works/21968455/chapters/52422382
Departure and Arrivals by MissDMonsoonhttp://missdmonsoon.livejournal.com/1801.html
Mirandaâs Runway Series by Jehc   https://archiveofourown.org/series/107369
No Matter the Miles by Grdnofevrything http://dvlwears-prada.livejournal.com/?skip=40&tag=user%3A%20grdnofevrythng
Out of the Mouths of Babes by mxrolkr http://archiveofourown.org/works/209845
Stealing Sunshine by Grdnofevrything http://grdnofevrythng.livejournal.com/226139.html
The Harper Series by Brithna https://archiveofourown.org/series/23971
The Missing Child and the Stolen Shoe by Sarah Shalom David https://archiveofourown.org/works/13432113
Worthy of Admiration by Jehc https://archiveofourown.org/works/14329443/chapters/33066807

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Iâm so glad Iâm attracted to women, wow.
10 Ways to Add Sizzle to Your Boring Writing
Writing that sizzles captures the reader's attention and keeps them engaged from start to finish. Whether you're an experienced writer or just starting out, there are several techniques you can use to make your writing more exciting and dynamic. Here are ten detailed ways to add sizzle to your boring writing:
1. Use Vivid Descriptions
Vivid descriptions bring your writing to life by creating a rich, immersive experience for the reader. Instead of relying on generic or bland language, use specific details that appeal to the senses. Describe how things look, sound, smell, taste, and feel to paint a vivid picture.
In Detail:
Visual Descriptions: Use color, shape, and size to create a mental image. Instead of saying "The car was old," say "The rusty, olive-green car wheezed as it pulled into the driveway."
Sound Descriptions: Incorporate onomatopoeia and detailed sound descriptions. Instead of "The music was loud," say "The bass thumped, and the high notes pierced through the night air."
Smell and Taste Descriptions: Use sensory language. Instead of "The food was good," say "The aroma of roasted garlic and herbs filled the room, and the first bite was a burst of savory flavors."
2. Show, Don't Tell
"Show, don't tell" is a fundamental writing principle that means revealing information through actions, thoughts, dialogue, and sensory details rather than straightforward exposition. This approach makes your writing more engaging and allows readers to experience the story.
In Detail:
Actions Over Exposition: Instead of telling the reader "Jane was scared," show her fear through her actions: "Jane's hands trembled as she fumbled with the lock, her breath coming in shallow gasps."
Dialogue: Use conversations to reveal character traits and emotions. Instead of "John was angry," show his anger through his words and tone: "John's voice was a low growl as he said, 'I can't believe you did this.'"
Internal Thoughts: Reveal characters' inner worlds. Instead of "Emma felt relieved," show her relief: "Emma let out a long breath she didn't realize she was holding and sank into the chair, a smile tugging at her lips."
3. Create Relatable Characters
Relatable characters are crucial for keeping readers invested in your story. Characters should have depth, including strengths, weaknesses, desires, and fears. When readers see aspects of themselves in your characters, they're more likely to care about their journeys.
In Detail:
Character Flaws: Give your characters realistic flaws. A perfect character can be boring and unrelatable. Show how these flaws impact their decisions and relationships.
Character Arcs: Ensure your characters grow and change throughout the story. A well-crafted character arc can turn a good story into a great one.
Background and Motivations: Provide backstories and motivations. Why does your character act the way they do? What drives them? This adds depth and makes them more three-dimensional.
4. Add Dialogue
Dialogue can break up large blocks of text and make your writing more dynamic. It reveals character, advances the plot, and provides opportunities for conflict and resolution. Ensure your dialogue sounds natural and serves a purpose.
In Detail:
Natural Speech: Write dialogue that sounds like real conversation, complete with interruptions, pauses, and colloquial language. Avoid overly formal or stilted speech.
Purposeful Dialogue: Every line of dialogue should have a purpose, whether it's revealing character, advancing the plot, or building tension. Avoid filler conversations that don't add to the story.
Subtext: Use subtext to add depth. Characters might say one thing but mean another, revealing their true feelings through what they don't say directly.
5. Use Strong Verbs
Strong verbs make your writing more vivid and energetic. They convey action and emotion effectively, making your sentences more powerful and engaging.
In Detail:
Action Verbs: Choose verbs that show precise actions. Instead of "She went to the store," say "She dashed to the store."
Avoid Weak Verbs: Replace weak verbs and verb phrases with stronger alternatives. Instead of "He was walking," say "He strode."
Emotionally Charged Verbs: Use verbs that convey specific emotions. Instead of "She was sad," say "She wept."
6. Vary Sentence Structure
Varying sentence structure keeps your writing interesting and prevents it from becoming monotonous. Mix short, punchy sentences with longer, more complex ones to create a rhythm that engages readers.
In Detail:
Short Sentences for Impact: Use short sentences to create tension, urgency, or emphasize a point. "He stopped. Listened. Nothing."
Complex Sentences for Detail: Use longer sentences to provide detailed descriptions or explain complex ideas. "As the sun set behind the mountains, the sky transformed into a canvas of oranges, pinks, and purples, casting a warm glow over the serene landscape."
Combine Different Structures: Mix simple, compound, and complex sentences to maintain a natural flow. Avoid repetitive patterns that can make your writing feel flat.
7. Introduce Conflict
Conflict is the driving force of any story. It creates tension and keeps readers invested in the outcome. Without conflict, your story can become stagnant and uninteresting.
In Detail:
Internal Conflict: Characters should struggle with internal dilemmas, fears, and desires. This adds depth and relatability.
External Conflict: Introduce obstacles and challenges that characters must overcome. This can be other characters, societal pressures, or natural forces.
Resolution: Show how conflicts are resolved, leading to character growth and plot progression. Ensure resolutions feel earned and satisfying.
8. Use Metaphors and Similes
Metaphors and similes add creativity and depth to your writing. They help readers understand complex ideas and emotions by comparing them to familiar experiences.
In Detail:
Metaphors: Directly state that one thing is another to highlight similarities. "Time is a thief."
Similes: Use "like" or "as" to make comparisons. "Her smile was like sunshine on a rainy day."
Avoid Clichés: Create original comparisons rather than relying on overused phrases. Instead of "busy as a bee," find a fresh analogy.
9. Create Suspense
Suspense keeps readers on the edge of their seats, eager to find out what happens next. Use foreshadowing, cliffhangers, and unanswered questions to build tension and anticipation.
In Detail:
Foreshadowing: Drop subtle hints about future events. This creates anticipation and a sense of inevitability.
Cliffhangers: End chapters or sections with unresolved tension or unanswered questions to compel readers to keep going.
Pacing: Control the pace of your story to build suspense. Slow down for crucial moments and speed up during action scenes.
10. Edit Ruthlessly
Great writing often emerges during the editing process. Be willing to cut unnecessary words, tighten your prose, and refine your sentences. Editing improves clarity, pace, and overall readability.
In Detail:
Cut Redundancies: Remove unnecessary words and repetitive phrases. "In my opinion, I think" can be reduced to "I think."
Focus on Clarity: Ensure each sentence conveys its intended meaning clearly and concisely.
Proofread: Check for grammar, punctuation, and spelling errors. A polished manuscript reflects professionalism and attention to detail.
Writing Notes: Children's Dialogue
Language is extremely complex, yet children already know most of the grammar of their native language(s) before they are 5 years old.
BABBLING
Babbling begins at about 6 months and is considered the earliest stage of language acquisition
By 1 year babbles are composed only of the phonemes used in the language(s) they hear
Deaf babies babble with their hands like hearing babies babble using sounds
FIRST WORDS
After the age of one, children figure out that sounds are related to meanings and start to produce their first words
Usually children go through a holophrastic stage, where their one-word utterances may convey more meaning
Example: "Up" is used to indicate something in the sky or to mean âpick me upâ
Most common first words (among the first 10 words uttered in many languages): âmommy,â âdaddy,â âwoof woof,â âno,â âbye,â âhi,â âyes,â âvroom,â âballâ and âbananaâ
WORD MEANINGS
When learning words, children often overextend a wordâs meaning
Example: Using the word dog to refer to any furry, four-legged animal (overextensions tend to be based on shape, size, or texture, but never color)
They may also underextend a wordâs meaning
Example: Using the word dog to refer only to the family pet, as if dog were a proper noun
The Whole Object Principle: When a child learns a new word, (s)he is likely to interpret the word to refer to a whole object rather than one of its parts
SYNTAX
At about two years of age, children start to put words together to form two-word utterances
The intonation contour extends over the two words as a unit, and the two-word utterances can convey a range of meanings:
Example: "mommy sock" = subject + object or possessive
NOTE: Chronological age is NOT a good measure of linguistic development due to individual differences, so instead linguists use the childâs mean length of utterance (MLU) to measure development
The telegraphic stage describes a phase when children tend to omit function morphemes such as articles, subject pronouns, auxiliaries, and verbal inflection
Examples: "He play little tune" or "Andrew want that"
Between 2;6 and 3;6 a language explosion occurs and children undergo rapid development
By the age of 3, most children consistently use function morphemes and can produce complex syntactic structures:
Examples: "He was stuck and I got him out" / "Itâs too early for us to eat"
After 3;6 children can produce wh-questions, and relative pronouns
Sometime after 4;0 children have acquired most of the adult syntactic competence
PRAGMATICS
Deixis: Children often have problems with the shifting reference of pronouns
Children may refer to themselves as "you"
Problems with the context-dependent nature of deictic words: Children often assume the hearer knows who s/he is talking about
AUXILIARIES
In the telegraphic stage, children often omit auxiliaries from their speech but can form questions (with rising intonation) and negative sentences
Examples: "I ride train?" / "I not like this book"
As children acquire auxiliaries in questions and negative sentences, they generally use them correctly
SIGNED LANGUAGES
Deaf babies acquire sign language in the same way that hearing babies acquire spoken language: babbling, holophrastic stage, telegraphic stage
When deaf babies are not exposed to sign language, they will create their own signs, complete with systematic rules
IMITATION, REINFORCEMENT, ANALOGY
Children do imitate the speech heard around them to a certain extent, but language acquisition goes beyond imitation
Children produce utterances that they never hear from adults around them, such as "holded" or "tooths"
Children cannot imitate adults fully while acquiring grammar
Example:
Adult: "Where can I put them?" Child: "Where I can put them?"
Children who develop the ability to speak later in their childhood can understand the language spoken around them even if they cannot imitate it
NOTE: Children May Resist Correction
Example: Cazden (1972) (observation attributed to Jean Berko Gleason) â My teacher holded the baby rabbits and we patted them. â Did you say your teacher held the baby rabbits? â Yes. â What did you say she did? â She holded the baby rabbits and we patted them. â Did you say she held them tightly? â No, she holded them loosely.
Another theory asserts that children hear a sentence and then use it as a model to form other sentences by analogy
But while analogy may work in some situations, but certainly not in all situations:
â I painted a red barn. â I painted a barn red. â I saw a red barn. â I saw a barn red.
Children never make mistakes of this kind based on analogy which shows that they understand structure dependency at a very young age
BIRTH ORDER
Childrenâs birth order may affect their speech.
Firstborns often speak earlier than later-born children, most likely because they get more one-on-one attention from parents.
They favor different words than their siblings.Â
Whereas firstborns gabble on about animals and favorite colors, the rest of the pack cut to the chase with âbrother,â âsister,â âhateâ and such treats as âcandy,â âpopsiclesâ and âdonuts.âÂ
The social dynamics of siblings, it would appear, prime their vocabularies for a reality different than the firstbornsâ idyllic world of sheep, owls, the green of the earth and the blue of the sky.
MOTHER'S LEVEL OF EDUCATION
Children may adopt vocabulary quite differently depending on their motherâs level of education.
In American English, among the words disproportionately favored by the children of mothers who have not completed secondary education are: âso,â âwalker,â âgum,â âcandy,â âeach,â âcould,â âwish,â âbut,â âpennyâ and âbeâ (ordered starting with the highest frequency).
The words favored by the children of mothers in the âcollege and aboveâ category are: âsheep,â âgiraffe,â âcockadoodledoo,â âquack quack,â the babysitterâs name, âgentle,â âowl,â âzebra,â âplay doughâ and âmittens.âÂ
BOYS / GIRLS
One area of remarkable consistency across language groups is the degree to which the language of children is gendered.
The words more likely to be used by American girls than by boys are: âdress,â âvagina,â âtights,â âdoll,â ânecklace,â âpretty,â âunderpants,â âpurse,â âgirlâ and âsweater.â
Whereas those favored by boys are âpenis,â âvroom,â âtractor,â âtruck,â âhammer,â âbat,â âdump,â âfiretruck,â âpoliceâ and âmotorcycle.â
Tips for Writing Children's Dialogue (compiled from various sources cited below):
Milestones - The dialogue you write should be consistent with the child's developmental milestones for their age. Of course, other factors should be considered such as if the child has any speech or intellectual difficulties. Also note that developmental milestones are not set in stone and each child is unique in their own way.
Too "Cutesy" - If your child characters are going to be cute, they must be cute naturally through the force of their personality, not because the entire purpose of their existence is to be adorable.
Too Wise - Itâs true kids have the benefit of seeing some situations a little more objectively than adults. But when they start calmly and unwittingly spouting all the answers, the results often seem more clichĂ©d and convenient than impressive or ironic.
Unintelligent - Donât confuse a childâs lack of experience with lack of intelligence.Â
Baby Talk - Donât make a habit of letting them misuse words. Children are more intelligent than most people think.
Unique Individuals - Adults often tend to lump all children into a single category: cute, small, loud, and occasionally annoying. Look beyond the stereotype.
Personal Goals - The single ingredient that transforms someone from a static character to a dynamic character is a goal. It can be easy to forget kids also have goals. Kids are arguably even more defined by their goals than are adults. Kids want something every waking minute. Their entire existence is wrapped up in wanting something and figuring out how to get it.
Don't Forget your Character IS a Child - Most of the pitfalls in how to write child characters have to do with making them too simplistic and childish. But donât fall into the opposite trap either: donât create child characters who are essentially adults in little bodies.
Your Personal Observation - To write dialogue that truly sounds like it could come from a child, start by being an attentive listener. Spend time around children and observe how they interact with their peers and adults. You can also study other pieces of media that show/write about children's behaviour (e.g., documentaries, films, TV shows, even other written works like novels and scripts).
Context - The context in which children speak is crucial to creating realistic dialogue. Consider their environment, who they're speaking to, and what's happening around them. Dialogue can change drastically depending on whether a child is talking to a friend, a parent, or a teacher. Additionally, children's language can be influenced by their cultural background, family dynamics, and personal experiences. Make sure the context informs the dialogue, lending credibility to your characters' voices.
Sources and other related articles: 1 2 3 4 5 6 7 8 9 10
Writing Notes: On Children
Two additions here from my own experience of raising my kids, who are twins!
Twins who are always together have trouble learning pronouns. My twins would use "we" when they meant "I" all the time because they were used to being together and being referred to as a unit. "We want ketchup!" okay but your sister actually doesn't like ketchup and you know that, you mean "I want ketchup."
Twins do not actually have a secret language. They just mimic each other's mistakes and mispronunciations in a way where they understand each other but adults cannot understand them.
Anyway thank you for this list! There is nothing that turns me off from a kidfic more than the child being wildly developmentally inappropriate for their age.
yâall, i made an auâŒïžâŒïž

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Breaking News!Â
Miranda Priestlyâs townhouse just hit the market! Listed for a whopping $27,500,000!  Have you always wanted to see the inside of Mirandaâs townhouse? Click on the link below and enjoy a gallery of photos you havenât seen before. That is unless you attended the school or academy for which this townhouse served  *I need clarification on the foyer because it looks completely different from the film. Or do I miss something?
So, I took the time to research it, and itâs actually quite simple. Itâs all about perspective. From the shot they took, we can see a glimpse of the carpet in the gallery. Visually, it looked like there was just a tiny space between the entrance and the foyer. Thatâs why I couldnât immediately identify where the area came from. It could also have been the condition that the entrance gallery would not be visible in the film. Also, it makes sense now that it was illuminated so much in the evening. However, what fascinates me is that nowhere is it mentioned that the townhouse has an elevator! According to the floor plan, it is located here (see the picture). I knew about the elevator and often wondered where it might be. Fascinating house.
âQueer people need to get weirder-â you canât handle like. A lesbian.
MISC SMUT PROMPTS
1. âno underwear? did you plan this?â
2. âare you just going to watch?â
3. âbut the camerasâ - âthey canât see us from this angle, if you can stay stillâ
4. âyouâre such a needy girlâ
5. âyou just keep doing what youâre doingâ
6. âyouâre fucking soakedâ
7. âyou make me so wetâ
8. âcan i ask you for something?â
9. âplease donât think iâm weird for thisâŠâ
10. âdoes that turn you on?â
11. âi need your fingersâ
12. âsay/do it like you mean itâ
13. âscream my name while you cumâ
14. âcall me mommyâ
15. âtouch yourself, i want to watchâ
16. âon your kneesâ
17. âturn aroundâ
18. âbend overâ
19. âspread your legsâ
20. âopen widerâ
21. âsit on my thigh/face/etcâ
22. âlift your legâ
23. âiâm bored, letâs playâ
24. âi can see you staring at my tits/thigh/assâ
25. âharderâ
26. âitâs my turn nowâ
27. âi didnât mean to call you that, iâm sorryâ - âno! donât apologize, i liked itâŠâ
28. âspank meâ
29. âchoke meâ
30. âbite meâ
31. âyou can practice on meâ
32. âthis is a one time thingâ
33. âi thought you said it was a one time thing?â
34. âwe canât do thisâ
35. âi ordered us somethingâ
36. âthat looks too bigâ
37. âyou bought a vibrator?â
38. âsit hereâ
39. âwhile standing?â
40. âgive me your handâ
41. âiâm/itâs all over your chinâ
42. âdo you think about me when you touch yourself?â
43. âwhy are you being so shy? itâs not like i havenât already seen all of youâ
44. âyouâre so spoiledâ
45. âcan we use a toy?â
46. âcan i use a toy on you?â
47. âjust like thatâ
48. ânobody can know about this, okay?â
49. âhow are you so close already?â
50. âi can see how wet you are through your shortsâ
51. âcan you be quick?â
52. âplease, iâll finish fastâ
53. âuse your mouthâ
54. âwhy do you get so shy when i use that word?â
55. âwhere do you want me to touch you?â - âdown thereâŠâ - âyou have to say the wordâ
56. âon the counter/table/etc?â
57. âhave you seen the things the the fans write about you and *other member*?â
58. âpull my hairâ
59. âopen your mouthâ
60. âyouâre such a messy girlâ
61. âtake off your underwearâ - âbut, thereâs other people hereâ - âthey wonât see you, thereâs an entire table hereâ
62. âopen your eyesâ
63. âlook at me while you cumâ
64. âdo you want me to use my fingers/mouth?â
65. âdo you want to join me?â
66. âhow bad do you want it?â
67. âitâs too late for thisâ - âyou donât have to do anything, just stay laying downâ
68. âcan you stay quiet if i take this call?â
69. âwe could get kicked out for thisâ
70. âdonât make me say it, you know what i wantâ
71. âyouâre so annoyingâ - âwould i still be annoying eating you out?â
72. âput your leg over my shoulderâ
73. âthereâs no one else here, be louderâ
74. âiâm going to fuck you against the windows, i want everyone to see how good you are for meâ
75. âstop being gentleâ
76. âyou canât leave marksâ
77. âwe are not doing this standing, thereâs a bed right thereâ
78. âdo you like it when i spank you?â
79. âuse my thighâ
80. âif you hate me so much, why are you letting me do this?â
81. âyouâre really telling me to stop while both of your hands are in my shirt?â
82. âi still hate youâ
83. âthis is just sex, no stringsâ
84. âfuck youâ - âwell, thatâs what weâre doing isnât it?â
85. "you can take it like a good girl, right?"
86. âthat was a nice way to wake up"
87. âwhy don't you make it up to me?"
à© â levels of intimacy.
አrequest from: @generousvintagevictorianeagle â hi!! can you please write some dialogue prompts about a relationship/ intimacy within partners/ and caring for each other type beat⊠fluff and maybe a little angst and smut⊠much appreciated!!
አwarnings : some angst + smut mentioned!
"whenâs the last time you ate something?"
âlet me run you a nice soothing bath.â
âyou look so beautiful, baby.â âbabe, i just woke up.â âyouâre always beautiful even if you just woke up.â
âletâs cuddle on the couch and watch your favorite movie.â
âi got you a present, i hope you like it.â
âwhy didnât you just tell me you needed a break?â
âiâm sorry about what happened, iâm here if you ever need to talk about it.â
âhey⊠hey⊠why are you crying?â
âare you okay?â
âthis is a great opportunity for you, i thought you would be happy but why do you look so sad?â
âyou know you can tell me anything right?â
âcanât sleep.â âi tried absolute everything but nothing.â pulling you even closer as they say âyou havenât tried everything, i think i can get you to fall asleepâ
âwanna take this to the bed?â
âwe can take things slow if you want?â
âfuck⊠youâre so good.â
âplease⊠go harder.â
âyou look so pretty as you squirm under me.â
âlet me clean you up.â
âsuch a good girl fâme.â
âis this okay?â character a ask before going any further and character b simply nods their head. âuse your words baby.â

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betrayal and trust prompts
âi never thought youâd be the one to betray me.â
âafter everything weâve been through, this is how it ends?â
âi told you my deepest secrets, and this is how you repay me?â
âyouâve broken my trust, and I donât know if I can ever forgive you.â
âi thought you were different, but youâre just like the rest.â
âi wish i could turn back time and see the truth sooner.â
âi donât know if I can ever look at you the same way again.â
âyouâve shattered everything we built together.â
âwas any of it real, or was it all a lie?â
âyou were the last person I expected to hurt me.â
âi trusted you more than anyone else, and you broke that trust.â
âhow long were you planning this? how long have you been lying to me?â
âyouâve left me with nothing but questions and a broken heart.â