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2025 on Tumblr: Trends That Defined the Year

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One Nice Bug Per Day
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Aqua Utopia|海の底で記憶を紡ぐ

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Kaledo Art
PUT YOUR BEARD IN MY MOUTH
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@vernhani

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that's hannie's baby ♡
DK, DINO & SEUNGKWAN @ MUSIC BANK (260116)
can they come back to me...... please :(

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two tender (and tipsy) hearts
today was a nice writing day 🌷 i think i can finish my verhan one-shot tomorrow, and maybe start editing it. i don't remember smut being this hard to write, though... i lost practice
best christmas present ever
WAKE UP DEAD MAN: A KNIVES OUT MYSTERY (2025) dir. rian johnson
in 2026, remember how GOOD writing feels. remember how satsfying it is to get your characters to the point you have been dying to get to, where they will experience the love, fear, relief or whatever the feeling you want to bring to life may be. let this year be the year of writing, prgress and of satisfactory endings.

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🧪 Character Arcs 101: what they are, what they aren’t, and how to make them hurt
by rin t. (resident chaos scribe of thewriteadviceforwriters)
Okay so here’s the thing. You can give me all the pretty pinterest moodboards and soft trauma playlists in the world, but if your character doesn’t change, I will send them back to the factory.
Let’s talk about character arcs. Not vibes. Not tragic backstory flavoring. Actual. Arcs. (It hurts but we’ll get through it together.)
─────── ✦ ───────
💡 what a character arc IS:
a transformational journey (keyword: transformation)
the internal response to external pressure (aka plot consequences)
a shift in worldview, behavior, belief, self-concept
the emotional architecture of your story
the reason we care
💥 what a character arc is NOT:
a sad monologue halfway through act 2
a single cool scene where they yell or cry
a moral they magically learn by the end
a “development” label slapped on a flatline
─────── ✦ ───────
✨ THE 3 BASIC FLAVORS OF ARC (and how to emotionally damage your characters accordingly):
Positive Arc They start with a flaw, false belief, or fear that limits them. Through the events of the story (and many Ls), they confront that internal lie, grow, and emerge changed. Hurt factor: Drag them through the mud. Make them fight to believe in themselves. Break their trust, make them doubt. Let them earn their ending.
Negative Arc They begin whole(ish) and devolve. They fail to overcome their flaw or false belief. This arc ends in ruin, corruption, or defeat. Hurt factor: Let them almost have a chance. Build hope. Then show how they sabotage it, or how the world takes it anyway. Twist the knife.
Flat/Static Arc They don’t change, but the world around them does. They hold onto a core truth, and it’s their constancy that drives change in others. Think: mentor, revolutionary, or truth-teller type. Hurt factor: Make the world push back. Make their values cost them something. The tension comes from holding steady in chaos.
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🎯 how to build an arc that actually HITS (no ✨soft lessons✨, just internal structure):
Lie they believe: What false thing do they think about themselves or the world? (“I’m unlovable.” “Power = safety.” “I’m only valuable if I’m useful.”)
Want vs. need: What do they think they want? What do they actually need to grow?
Wound/backstory scar: What made them like this? You don’t need a tragic past™ but you do need cause and effect.
Turning point: What moment forces them to question their worldview? What event cracks the surface?
Moment of choice: Do they change? Or not? What decision seals their arc?
🧪 Pro tip: this is not a worksheet. This is scaffolding. The arc lives in the story, not just your doc notes. The lie isn’t revealed in a monologue, it’s felt through consequences, relationships, mistakes.
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🛠️ things to actually do with this:
Write scenes where the character’s flaw messes things up. Like, they lose something. A person. A plan. Their cool. Make the flaw hurt.
Track their beliefs like a timeline. How do they start? What chips away at it? When does the shift stick?
Use relationships as arc mirrors. Who challenges them? Enables them? Forces reflection? Internal change is almost never solo.
Revisit the lie. Circle back to it at least three times in escalating intensity. Reminder > confrontation > transformation.
─────── ✦ ───────
🌊 bonus pain level: REVERSE THE ARC
Wanna make it really hurt? Set them up for one arc, and give them the opposite. They think they’re growing into a better person. But actually, they’re losing themselves. They think they’re spiraling. But they’re really healing. Let them be surprised. Let the reader be surprised.
─────── ✦ ───────
TL;DR: If your plot is a skeleton, your character arc is the nervous system.
The change is the thing. Don’t just dress it up in trauma. Don’t let your character learn nothing. Make them face themselves. And yeah. Make it hurt a little. (Or a lot. I won’t stop you.)
—rin t. // thewriteadviceforwriters // plotting pain professionally since forever
P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:
✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re
@aikoiya @elezyyyy @iheartgod175 @blazing-shadows aaaand I can't think of anyone else at the moment :)
I'm popping up this random Tuesday to share a few reminders with my fellow fanfic writers
Even your favorite authors had to work hard to get good. We are all awful writers until we decide to improve and take steps.
Every day is an opportunity to be a better writer than you were yesterday if you put in a little work
The love for your works must start with you. Be your own biggest fan
You're allowed to write at your pace.
its okay to embrace some "imperfections" in your writing. Imperfection is part of art because it makes you unique.
It's okay to let go of the writer you were yesterday. Change is normal and it's okay. You're still awesome and your new work will still have an audience. It's okay to look fondly upon a past you perceive as your "glory days" but don't let that make you insecure. Your heart of a writer and your creative talent remain true. Embrace the writer you've become and confidently run with it
Any story you come up with, and your writing style are both special and precious because it's your art
its okay to crave validation and compliments for your fanfic-writing. You poured your blood, sweat and tears into it like any other artist.
No matter how you feel about your writing, it is special because no one can do it like you.
It's okay to be satisfied with just being a fanfic writer. Having amazing writing talent doesn't mean you must force yourself to write original works or to be published.
Fuck AI
There are only 2 rules when it comes to writing fanfics:
Write whatever you want.
Have fun doing it.
That’s literally it. There is no “show and don’t tell”. There is no “make it realistic”. There is no “fit in with the trends”. And of course, there is no “write as fast as possible to keep up engagement and please others”.
No.
Most fanfiction writers are not professional writers. This isn’t a job, we’re literally writing for shits and giggles. We don’t have a team of editors behind us to make our story perfect. Fanfiction isn’t about creating the most perfect plot with the most perfect prose and the most perfect pacing.
Fanfiction writing is for you first. To make your heart happy. Other people just get the benefit to also enjoy it if they wish.
That’s it.
Write whatever makes you happy, with whatever writing style you want, whenever you want.
I talked with someone who works in book publishing, and they mentioned they get a lot of AI slop these days. I asked how they know what's human-written, and they said that there's one thing that will reveal AI slop without error, and that's the author not knowing their own creation.
A real author can talk about their story for hours. They love to elaborate every character, every twist, every detail. Because those existed in their head long before they ever made it to the paper. They were loved before they were written.
AI slop wasn't. It was just vomited into existence.
Someone who generates their story with AI will never bond with their story the way real writers do. That's why they may not know what to say when they're asked why did the character do this, or even remember the scene in the first place. It's something they read, not something they wrote. And to a writer, those are not the same.
There's a unique bond between the creator and the creation. If your writing doesn't come of you, you'll always lack that.
I keep hearing soon we won't be able to tell. And perhaps, in a superficial sense, that's true. But there is a difference. It's not em dashes or repeated words. It's whether the story was made by someone who loves it and cares about it.
If the writer's eyes light up when asked why did the character do that? and they start their very own Ted Talk about that specific scene...
then it's real.
Edit: I did NOT expect this post to get this much attention. I'm truly sorry I made some people feel I'm doubting their genuinity as writers. This was not the point of this post; actually it was the opposite. My words aren't flawless, either; sometimes they come out wrong. I despise "AI witchunts" (if you read my earlier posts about this matter, you know). I tried to say, your love for your art is what makes it yours. No matter how you show it. I believe art is a connection between souls; a machine can't replicate that. It felt nice to hear that professionals in the industry (at least this one person) still search for that in what they choose to publish, too. That's why I wanted to share.
Edit 2. Please be kind in the comments. We're artists and writers, so passionate people, but we're on the same side here. Lift each other up. ❤️
Edit 3. (the last one, I promise) I'm restricting the comments for now to let this conversation cool down a bit. Once more; I did NOT mean, nor did the person I spoke with, that you need to remember every detail of every story or it's AI. This post is not about detecting AI. It's about love and passion injected to art by those who create it. With "not knowing their own story" I didn't mean having a perfectly crafted marketing speech about it. I meant just... knowing it. Loving it. In any way that feels natural to us. That's how I feel about my stories, anyway.
My first gift for this year's FTH, for @film-in-my-soul ! They asked for Jayvik with wolfy Jayce and I love how it turned out!

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MAY YOU NEVER LOSE YOUR HYPERFIXATION
How to Make Your Writing Less Stiff Part 3
Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.
Part 1
Part 2
1. Eliminating to-be verbs (passive voice)
Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.
There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.
My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.
She was standing /// She stood
He was running /// He ran
Also applicable in present tense, of which I’ve been stuck writing lately.
There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.
For once, it’s a cloudless night. /// For once, the stars shine clear.
Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).
Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.
He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.
2. Putting character descriptors in the wrong place
I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.
She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)
Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.
He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.
To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.
3. Lacking flow between sentences
Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.
Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.
From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.
Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.
This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.
4. Getting too specific with movement.
I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.
A ridiculous example:
Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.
Unless tying his shoes is a monumental achievement for this character, all readers would need is:
Jack shoves on his running shoes.
*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.
This also happens with multiple movements in succession.
Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.
Or
Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.
Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.
Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.
If you’re not writing something where the extra details service the character or the story at large, consider trimming it.
—
These are *suggestions* and writing is highly subjective. Hope this helps!