today's reason I fucking love the open source community: Ageless Linux, a brand new Debian-based operating system specifically designed to break the law by giving children access to computers that explicitly refuse to track their age.
RMH

@theartofmadeline
will byers stan first human second

shark vs the universe


Not today Justin

tannertan36


JBB: An Artblog!

Discoholic đŞŠ
ojovivo
almost home
hello vonnie

PR's Tumblrdome

â
dirt enthusiast
noise dept.
Game of Thrones Daily

#extradirty

seen from TĂźrkiye
seen from United States

seen from Indonesia
seen from Germany

seen from United Kingdom
seen from United States
seen from Spain

seen from United States
seen from Hong Kong SAR China

seen from TĂźrkiye
seen from Singapore

seen from Italy
seen from TĂźrkiye

seen from TĂźrkiye

seen from TĂźrkiye

seen from TĂźrkiye

seen from Malaysia

seen from TĂźrkiye

seen from United States

seen from United States
@summon-daze
today's reason I fucking love the open source community: Ageless Linux, a brand new Debian-based operating system specifically designed to break the law by giving children access to computers that explicitly refuse to track their age.

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
you have to forgive the printer because it's one of the most machine-ass machines we interact with on a day to day basis. that thing says kerchunk. hardly anything says kerchunk these days. you can't get mad at her when she kerchunks up a little.
Crazy that tech has gotten so bad that we're doing printer forgiveness now
why the fuck is it called the xbox 360 what does 360 mean???????????????????
when u see it u turn 360 degrees and walk away
turning 360 degrees would face you right back to the xbox you dipshit
this post somehow still in circulation despite everyone involved being deactivated
even you
Even me
complimented a womans clear raincoat this morning and she said Well i feel like a sandwich

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
There used to be a lot of activities that took place around a populated area like a village or town, which you would encounter before you reached the town itself. Most of those crafts have either been eliminated in the developed world or now take place out of view on private land, and so modern authors don't think of them when creating fantasy worlds or writing historical fiction. I think that sprinkling those in could both enrich the worlds you're writing in and, potentially, add useful plot devices.
For example, your travelers might know that they're near civilization when they start finding trees in the woods that have been tapped, for pitch or for sap. They might find a forester's trap line and trace it back to his hut to get medical care. Maybe they retrace the passage of a peasant and his pig out hunting for truffles. If they're coming along a coast, maybe your travelers come across the pools where sea water is dried down to salt, or the furnaces where bog iron ore is smelted.
Maybe they see a column of smoke and follow it to the house-sized kilns of a potter's yard where men work making bricks or roof tiles. From miles away they could smell the unmistakeable odor of pine sap being rendered down into pitch, and follow that to a village. Or they hear the flute playing of a shepherd boy whiling away the hours in the high pasture.
They could find the clearing where the charcoal burners recently broke down an earth kiln, and follow the hoof prints and drag marks of their horse and sledge as they hauled the charcoal back to civilization. Or follow the sound of metal on stone to a quarry or gravel pit. Maybe they know they're nearly to town when they come across a clay bank with signs of recent clay gathering.
Of course around every town and city there will be farms, more densely packed the closer you are. But don't just think of fields of grains or vegetables. Think of managed woodlands, like maybe trees coppiced-- cut and then regrown--to customize the shape or size of the branches. Cows being grazed in a communal green. Waiting as a huge flock of ducks is driven across the road. Orchards in bloom.
If they're approaching by road, there will be things best done out of town. The threshing floor where grain is beaten with flails or run through crushing wheels to separate the grain from its casing, and then winnowed, using the wind to carry away the chaff. Laundresses working in the river, their linens bleaching on the grass at the drying yard. The stench of the tanners, barred from town for stinking so badly. The rushing wheel-race and great creaking wheel of the flour mill.
If it's a larger town, there might be a livestock market outside the gates, with goats milling in woven willow pens or chickens in wooden cages. Or a line of horses for the wealthier buyer or your desperate travelers. There might be a red light district, escaping the regulations of the city proper, or plain old slums. More industrial yards, like the yards where fabric is dyed (these might also smell quite bad, like rotting plant material, or urine).
There are so many things that preindustrial people did and would find familiar that we just don't know about now. So much of life was lived out in the open for anyone to see. Make your world busy and loud and colorful!
This is a big reason that I have always loved the Brother Cadfael novels, set in the mid 1100s. Written by Ellis Peters, each book has such a vivid sense of the place and the time period. Many different settings around Shrewsbury are described, along with the people and their various jobs.
I love that kind of world building and would add that many resources were tightly regulated that we don't consider nowadays. Examples are the right to herd your pigs in an oak forest belonging to a specific monastery (saw an example where an altar piece had a carved pig to make sure the claim was known and advertised) or down to which farmers had the right to tree leaves in the fall (shortage of other animal bedding in certain Swiss valleys). The idea of a wilderness in a medieval setting is not what we think.
Great points! Thank you.
Forever recommending A Collection of Unmitigated Pedantry as an introductory resource for this! The author is a historian of the ancient mediterranean and he has a lengthy two-part blog post on "lonely cities": how fictional cities tend to look in pseudomedieval fantasy versus how real cities actually worked, specifically how they reshaped the land use for many miles around. Part I, part II, or available read aloud on YouTube here.
Not everything needs to be a full story, you know?
If you have just one or two scenes that youâre really excited about, you can just write those. You donât have to create a full WIP to contain them if you donât want.
You can create characters without putting them into a project, they can just exist.
You can worldbuild for a universe that you never write about.
If thereâs a trope you really want to write, but you donât have a project to put them in⌠You can just write the best parts of that trope on its own.
Even if you do have a story and thereâs parts you donât want to write, itâs okay to just write the parts that youâre excited about. You donât need to write the other parts and make it a full story.
I feel like in writing, thereâs a lot of emphasis put on completion and writing a full story.
Completion or a full story doesnât always have to be the purpose or goal. Itâs okay and wonderful to just let something exist on its own without anything else.
Tragedy alignment chart. Feel free to use, but please reblog if you do.
And of course the second part of the tragedy, which is: which quadrant did you think you were in vs. which one you were really in
I think a lot of writers might benefit from giving themselves permission to get weird with format.
Use second person, drop classic rising action and climax format, write backwards, just sit in a moment, tell all you want and refuse to show, make an entire book thatâs just one run on sentence, reject tropes, use all tropes, cliche yourself to death, produce something thatâs completely gibberish. Break all the rules of marketability. Become ungovernable.
Write a story that just takes place inside one pathetic little personâs head. Do it. Itâs enrichment in your enclosure.
Do the writerâs equivalent of playing with finger paints. Do it do it do it do it do it do it do it do it do it do it do it do it
Itâs the middle of the night and I should be sleeping but listen. Listen. Just get weird with it. Open your soul up a little bit. Like actually donât worry about it being palatable. Iâm serious. Get weirder. Get weirder right now. Iâm demanding that you get weirder right now. Itâs not your responsibility to make your reader feel good. Itâs your job to make art, goddamnit. Make art. Make weird art. Open up your third eye and eat an entire cheesecake.
basically I think that if your protagonist doesnât want to fuck someone so bad it makes them look stupid, then there probably isnât enough energy in your story. âFuck someoneâ isnât literal btwâthey can want to uncover the secrets of their parentâs death, they can want to prove their worth, they can want a donut from one particular bakeryâit can be anything so long as they want it so bad that theyâll make decisions that make any sane person go âare you a moron??â, with little to no forethought, or even tons of forethought and this is still the option they chose. Because they want to fuck that thing so bad.
wait isnât that just giving your characters a motivation???
Youâd be surprised at how many people fail to give their characters motivation, and so write a story thatâs less good than it could be.
Itâs surprisingly easy to come up with an incredibly cool plot and characters without giving the characters enough motivation to make it actually compelling enough to read or even write. If you have a cool af idea that you somehow just canât bring yourself to write, ask yourself what the main character wants, and how is that driving their decisions?
They need to want it so bad that it makes them look stupid. They need to impulse-buy a half-broken spaceship by mortgaging radioactive land, because theyâre just that desperate to prove themselves more than a discarded scrap of a far greater history. They need to want their home and their people safe so much that theyâll risk their own soul to march across hundreds of miles of unknown and terrible danger to throw a cursed ring into a volcano. They need to love someone so much, and need them to know it, that theyâll blurt it out in the middle of a press conference or royal ball, or surrounded by enemies with a garrote at their throat or about to be frozen in carbonite or in the middle of a storm-tossed sea battle between pirates, British Navy, and the undeadâor, they need to love someone so much that theyâll swear fealty to an evil emperor and kill a bunch of friends and children for the power to save them. They need to be so balls-to-the-wall insane in at least one regard that the plot isnât just happening to them, they are in some way causing the plot.
Also keep in mind! When it comes to character development, âWANTâ is NOT the same as âNEEDâ! Sometimes a character knows whatâs good for them, what will truly often make them happy, but more often they donât. They want the acclaim and adoration of the crowds, but really they need the recognition, acceptance or love of one particular personâand maybe that person is their own self. They want to avenge the loss of their loved one, but really they need to accept the loss and move on. A refusal to accept what they need is usually going to get in the way of what they wantâand sometimes they figure it out just in time to go forward and climactically achieve their goal, or maybe they double down on their character flaws in a classic display of Greek tragedy!
"Fuck someoneâ isnât literal btw
As an Aro-Ace who was very uncomfortable with your post until this point: THANK YOU!
Also, one caveat: there is one rare type of story where the protagonist cannot become stupid over what they're after. This is the detective story where their character is in many ways a placeholder for the audience to try to solve the puzzle (as opposed to more thrilery types of detective story) and the detective's internal motivations are basically irrelevant because they are in many ways a framing device.
Ironically, ACD Sherlock Holmes, who most people would immediatley think of for this sort of always detached detective, does not always fit this caveat protag type. He can and has done stupid.
But like, okay, genuinely. Because this is a thing I'm struggling with.
How do you write a protagonist where the thrust of the story is that they don't know what they want?
Because I have that experience, and I want to capture it well.
@lizardywizard I'm just essentially throwing spaghetti at the wall to see if anything sticks here, but, some options:
the character's want at the beginning of the story is to find out what they want, so they'll try anything once
they do a bunch of dumb shit chasing the feeling of wanting something, no matter how fleeting, in case THIS is The Thing
they have something they think they want at the beginning of the story that turns out to really be something else
throw a character at them that DOES want a thing and is dragging them into said hijinks whether they like it or not -- especially if not, then their initial Want is "get me the fuck out of here" (possibly with a side of "but also I need to rescue my friend from themself" if it's too easy for them to otherwise just nope out of the plot XD)
I guess elaborating on the point above: give them circumstantial wants until a bigger want grows out of them? Like, throw them into Situations, so they want to resolve the situation or discover a temporary want within said situation, and go from there.
gonna be real with you but a lot of detective characters become stupid over their desire for justice, vengeance, or personal issues, and it makes for a meatier story
So - youse all know by now I have planted my flag on a hill called 'no one piece of writing advice is ever 100% applicable in all circumstances,' right? Even when it's genuinely good advice - like 'what do they want (and what's stopping them)?' is absolutely worth asking.
But, when you're sat there staring at a character who is coming into the space of the story crunchily fucked up in some way which is flattening their ability to want things, or rendering 'what they want' so abstract or orthogonal to what's actually happening that it isn't providing the driving energy...
...then one alternative which might be worth trying on for size is 'what lie(s) are they telling themself (and what's really true)?'

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
AO3 should have an Annotation Mode where you can click to view all of the author's commentary and thoughts about certain parts of the work. A little comment that says "I spent five hours researching vintage radio mechanics for this and didn't even end up using it" or "this is an ancient Hebrew literary technique!" would make my day
imo you get the most out of engaging with media when you strike a balance between treating characters as people (reading interiority into their actions, considering the effect of various aspects of their identity, etc etc) and as vehicles for storytelling (what narrative purpose do they serve, how do their actions and personality function to convey the themes of the work, etc etc). because of course characters are literary devices but also thereâs a reason we use literary devices written to embody realistic people in order to tell stories
I could not be more bored of women characters who are dangerous in a competent, sexy, luminous makeup and blow-dried hairstyle kind of way. I am so tired of all these dry-clean-only girlbosses strutting their way into stories. âOh sheâs so beautiful AND so good at martial arts and so clever and seductiveâ No! Get that outta here!! Give me more women who are dangerous in a real grungy way, like rusted metal with a sharp edge. Girls who make you glad youâve had your tetanus shot. Girls who cut their own hair and get bad tattoos. Girls who are as charming as a wet feral cat. Girls who might be clever enough to Play The Game but would rather flip over the chess board and punch you in the throat. I demand more horrible unpleasant women!! Thank you.
YES this too please. Absolutely. Dumb butch rights. Diversity win
no, Iâm sorry. âThe unhygenic thingâ is not opt-out for the kind of women I want more of. Fictional girls almost never get to be gross! When I said grungy, I meant grungy. Sheâs in yesterdayâs makeup (if she wears any) and yesterdayâs outfit. She smells like stale cigarette smoke. She smells like weed. She smells like gasoline and workshop grease. She smells like sheâs found a nice dead thing to roll in. She lives in a one-room apartment surrounded by computer equipment and empty styrofoam takeout containers. She lives deep in a swamp in a cabin full of centipedes and spiders. She lives in a cave. She lives on a pirate ship. She chews off her nail polish, she goes dumpster-diving, she eats dry instant ramen crushed up in the bag like itâs chips, she eats bugs off the ground, she eats raw meat. In all of her many variations, human or not, to some degree or another, she is gross!! Thank you again.
reminded of this manifesto I wrote three years ago. Did I ever post it to this blog? Itâs still all true.
imo the pov character should be lying to themselves and concealing shit from themselves constantly
interrupting others who might say something revealing or important, thinking around things, using words like âdidnâtâ or âdoesnâtâ or âimaginesâ to describe actions not taken or half taken, dreaming things and never talking about them or thinking about them during waking hours, lying to people, hiding true feelings, sitting in shadow or low light to keep any accidental flicker of emotion hidden, writing in obtuse ways that doesnât let the reader know what theyâre thinking or planning, avoiding adverbs in tense moments, describing actions in straightforward and almost clinical ways sometimes, hiding the truth from the character and the reader even though you both know or suspect but there is just enough space there to fill with doubt
Happy March 15th to those who celebrate.

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
"Why would this character be jealous of their friend's romantic relationships? Clearly they're in love with them" I don't know if you guys have ever Had Friends but it's actually pretty common for people to feel jealous if their best friend suddenly has less time for them and is prioritising someone they just met over them. That's not inherently romantic, that's the general human desire to be valued by the people you value.
I hate software updates so much. Why do you need to change. Why can't you love yourself as you are.