variousxreader

[variousxreader]

Words to replace said, except this actually helps

I got pretty fed up with looking for words to replace said because they weren’t sorted in a way I could easily use/find them for the right time. So I did some myself.

IN RESPONSE TO Acknowledged Answered Protested

INPUT/JOIN CONVERSATION/ASK Added Implored Inquired Insisted Proposed Queried Questioned Recommended Testified

GUILTY/RELUCTANCE/SORRY Admitted Apologized Conceded Confessed Professed

FOR SOMEONE ELSE Advised Criticized Suggested

JUST CHECKING Affirmed Agreed Alleged Confirmed

LOUD Announced Chanted Crowed

LEWD/CUTE/SECRET SPY FEEL Appealed Disclosed Moaned

ANGRY FUCK OFF MATE WANNA FIGHT Argued Barked Challenged Cursed Fumed Growled Hissed Roared Swore

SMARTASS Articulated Asserted Assured Avowed Claimed Commanded Cross-examined Demanded Digressed Directed Foretold Instructed Interrupted Predicted Proclaimed Quoted Theorized

ASSHOLE Bellowed Boasted Bragged

NERVOUS TRAINWRECK Babbled Bawled Mumbled Sputtered Stammered Stuttered

SUAVE MOTHERFUCKER Bargained Divulged Disclosed Exhorted

FIRST OFF Began

LASTLY Concluded Concurred

WEAK PUSY Begged Blurted Complained Cried Faltered Fretted

HAPPY/LOL Cajoled Exclaimed Gushed Jested Joked Laughed

WEIRDLY HAPPY/EXCITED Extolled Jabbered Raved

BRUH, CHILL Cautioned Warned

ACTUALLY, YOU’RE WRONG Chided Contended Corrected Countered Debated Elaborated Objected Ranted Retorted

CHILL SAVAGE Commented Continued Observed Surmised

LISTEN BUDDY Enunciated Explained Elaborated Hinted Implied Lectured Reiterated Recited Reminded Stressed

BRUH I NEED U AND U NEED ME Confided Offered Urged

FINE Consented Decided

TOO EMO FULL OF EMOTIONS Croaked Lamented Pledged Sobbed Sympathized Wailed Whimpered

JUST SAYING Declared Decreed Mentioned Noted Pointed out Postulated Speculated Stated Told Vouched

WASN’T ME Denied Lied

EVIL SMARTASS Dictated Equivocated Ordered Reprimanded Threatened

BORED Droned Sighed

SHHHH IT’S QUIET TIME Echoed Mumbled Murmured Muttered Uttered Whispered

DRAMA QUEEN Exaggerated Panted Pleaded Prayed Preached

OH SHIT Gasped Marveled Screamed Screeched Shouted Shrieked Yelped Yelled

ANNOYED Grumbled Grunted Jeered Quipped Scolded Snapped Snarled Sneered

ANNOYING Nagged

I DON’T REALLY CARE BUT WHATEVER Guessed Ventured

I’M DRUNK OR JUST BEING WEIRDLY EXPRESSIVE FOR A POINT/SARCASM Hooted Howled Yowled

I WONDER Pondered Voiced Wondered

OH, YEAH, WHOOPS Recalled Recited Remembered

SURPRISE BITCH Revealed

IT SEEMS FAKE BUT OKAY/HA ACTUALLY FUNNY BUT I DON’T WANT TO LAUGH OUT LOUD Scoffed Snickered Snorted

BITCHY Tattled Taunted Teased

Edit: People, I’m an English and creative writing double major in college; I understand that there’s nothing wrong with simply using “said.” This was just for fun, and it comes in handy when I need to add pizzazz. 

[variousxreader]

Any tips for writing the scenes you don't want to write to get to the scenes you do want to write?

Writing When It Sucks: A Quickstart Guide to the Scenes That Hate You Personally

by seth-whumps / sethlost

So, you've got a thousand-word gap between the good scenes, and you've gotta fill it with something. We've all been there—that one sentence in the outline, filling you with irreversible dread—but don’t lose hope. We do have some solutions! I've got three pieces of advice for this situation:

-> Skip The Hard Parts

-> Check Your Variables

-> Change It Up

Long post ahead, folks—you’ve been warned!

Let's start easy, with—

AVOIDANCE

Don't force yourself to write the parts you hate! If it's a scene that's not your thing, just... skip it! If you think it's boring, chances are your readers will feel it, too. If you'd skip it, they'd skip it. Famous authors do this alllllll the time. Don't deny yourself the privilege.

Remember, you don’t have to write chronologically. Write the good parts when you want to write them.

You gotta get to December? Skip to it.

You have a long ass captivity scene you don't want to bore yourself with? Skip it.

Does this scene just inspire you to stop writing forever? SKIP IT.

Now, I hear you. "But if I do that with every scene that troubles me, I'll have hardly any scenes at all!"

If it sucks, hit da bricks, as we Tumblrinas say.

Welcome to writing. It sucks. However, I'll let you in on the best tip I have ever learned from Reddit Dot Com—

CHECK YOUR VARIABLES

Your story, whether big or small, is built from several puzzle pieces! We'll call these your Story Variables. They can include:

Physical:

-> Heroes - your main people!

-> Villains - you’ve gotta have an antagonist somewhere, yknow?

-> Setting/Genre - solarpunk? ancient Arthurian myth? literally just New York City?

-> Locations - home base, headquarters, the villain’s lair, high school, etc

Narrative:

-> Main plot - getting the hero from point A to Z

-> Sideplots - character development, romance, betrayal and redemption arcs

-> Motivations - what do your characters want? what does your setting want?

-> Ending - where is it all going towards?

Audience:

-> Morals/messages - what’s the point of the story? what are you discussing or exploring throughout?

-> Metaphors - what’s the language you’re using to paint a picture?

-> Emotions - and the language you’re using to invoke a feeling?

-> Satisfaction - do you want your audience to feel satisfied? do you not? where and why?

If you're stuck on a scene, you may have an underdeveloped variable, or a missing one altogether. You can fix this by interrogating the absolute hell out of your story. Here's a few questions to get you started:

Do you know your ending? Is this scene guiding you towards it?

What emotions are you trying to portray? Where can you show that in this scene?

Where's your current location? Are you using it as a character in your story?

What drives your heroes? Your villains? How can you make them more obvious?

Are you considering your side plots and character development arcs?

You might be saying, "But wait! I'm only writing a little thing! I don't have the time/energy to think about all that!"

Is this scene contributing to the satisfaction of your story?

That's okay! I hear you. But it's not hopeless. I've still got something to help—

CHANGING IT UP

Hobbyists work in styles. It's hard to develop one, and often it comes from years of practice and study, but there's a way you can streamline it to your advantage. Think of it this way:

-> If you don't like drawing noses, change the way you draw them.

-> If your crocheting tools don't feel right, find ones that suit you.

-> If a chord on the guitar is too difficult, use an alternate fingering.

NEWS FLASH: it's the same for writing.

Physical movements? Blocking? You might be having trouble visualizing what the scene needs to contain.

If something isn't working, you have every ability to do it differently. There's very little right and wrong, here. Don't confine yourself to one generalized "type" of writing--branch out until you find what works for you. Let's start by thinking about what you're struggling on.

Draw the layout of your location. Use random pieces to represent your characters. Play dolls.

Keep it simple. Write exactly what happens, no more and no less.

Another post on Tumblr blew up, advising you to try writing the scene with only dialogue, and adding the actions later.

Emotional weight? Prose? This one's tricky, but I've got some advice regardless.

Change your sentence structure. Focus on the rhythm of the words. Worry less about grammar, and pay attention to the picture, the painting, the music.

Or, in opposition, write it exactly like it is. Come back to prose it up once you've got the scene skeletonized.

Organization? The actual, nitty-gritty content of the scene? Think about what the purpose of the scene is, then consider the following.

What's your moral/metaphor? Thread it throughout. Come back to it often. This'll tie up the story into something cohesive and cinematic.

Start with a bullet point list of everything you want to include. Think of details, interactions, and movements. Spam as many as you can think of, until you've got a substantial list of meat and seasoning you can sprinkle in as necessary.

Check in on your variables. Where does the scene need to end? What's the most convoluted path it could take to get there?

Introduce a new variable. Treat everything like a character in the story. Is the location an old building? Have it collapse. Is the ending too close for comfort? Drive the story in the opposite direction.

Most of all, mess around. Do what comes naturally, and if something isn't working, do it differently until it does. Writing is fun, despite everything about writing--so workshop it until it's fun again.

Whoops! That got very long. I hope this helps at least a bit, and if you've got any questions at all, Anon, feel free to ask! I'm sorry for the wait on this ask, by the way. I wanted to give it justice.

I'd be happy to go more in depth on anything mentioned here. I love talking through my thought processes while writing.

And as a disclaimer, none of what is said here is law. It's just what I've gathered through practice, and through following incredible people. There's no rules! Do what feels right!

Anyway! Thanks for reading, folks. See you in the next one [salutes]

Seth, signing off!

dividers by @/saradika-graphics, link in pinned post

[variousxreader]

Ace x Reader (fem)

Ace loves it when you pull his hair; it turns him on so much.

He likes it when you run your nails through his scalp, tangling in his black locks and tugging gently, increasing your intensity as your orgasm approaches.

That action alone drives him over the edge, cumming inside you with a loud moan leaving his lips.

He also loves it when you run your fingers through his hair when he's lying on your lap or chest. It makes him fall asleep faster and makes him feel safe, able to lower his barriers and let himself be pampered for a while by your side.

He wasn't Fire Fist or the Commander of the 2nd Division of the Whitebeard Pirates. He was just Ace, a normal boy being pampered by his girlfriend's soft caresses, with a few soft kisses on his hair.

He also loved it when you ran your hands through his hair, trying to make it look presentable, or combing it when he took off his hat, combing his wild hair, trying to keep it tidy, but always failing, which caused both of you to laugh.

Your hands were always in his hair, day after night. You loved the softness of Ace's hair. Ever since he started using your bath products, his hair looked shinier and softer, something Ace always bragged about.

"They're all jealous that I have such amazing hair!" Ace shouted, amused. The others just laughed and continued joking, prompting your boyfriend to return the favor.

He loved the way you ran your hands through his hair when he came to you after a fight with the enemy. It kept him grounded, making sure you were still alive, that the warmth still flowed through your body. Your touch calmed him.

Ace loved the way you played with his hair, whether it was romantic, tender, or fiery. He loved having your hands in his hair and having you play with it however you wanted.

[variousxreader]

If it doesn’t impact the rest of the story, you didn’t raise the stakes

              I recently went back to a chapter at the midpoint of my novel and changed a huge detail of it because I thought it didn’t raise the stakes enough as it was. Because of this change, I had to go through every single scene and chapter beyond that point and edit it to fit in and make sense. It was annoying, but that’s how I knew I achieved what I wanted to.

              Raised stakes change everything about a story.

              If your characters can continue on as they were, then you didn’t really raise the stakes at all. This heightened pressure or danger has to be heightened enough that their lives as they know them are different now.

              Consider this: at the midpoint, you introduce a mutated form of a monster your characters have been facing that’s more deadly and intelligent than its predecessor. It’s a super scary scene, but after that, your characters go back to their safe house to talk over how best to kill it.

              Suddenly, this new monster doesn’t feel as much of a threat. It’s just another element of the same threat they’ve already been facing.

              To properly use this element as a way to raise the stakes, it should take away something the characters rely on—safety, allies, powers, etc. Something they can’t get back, and don’t get back for the rest of the story. They now have to adapt to new circumstances, and things will never be as easy for them again.

              So maybe instead, they flee to their safe house only to discover that it’s no longer safe—the monster is smart enough to get through their hidden entrance and corner them. Now they’re stuck out in the open, taking turns keeping watch and slowly deteriorating to sleeplessness and stress.

              That’s a delicious steak.

[variousxreader]

Just to clarify, there's a bill that would STOP credit card companies from controlling who's allowed to spend money on porn or "risque" (read: queer) content. If you don't think big business should be able to tell you what to spend your own damn money on, call your senators and reps to let them know! It's the Fair Access to Banking Act, H.R.987 in the House, S.410 in the Senate.

[variousxreader]

🧩 How to Outline Without Feeling Like You’re Dying

(a non-suffering writer’s guide to structure, sanity, and staying mildly hydrated)

Hey besties. Let’s talk outlines. Specifically: how to do them without crawling into the floorboards and screaming like a Victorian ghost.

If just hearing the word “outline” sends your brain into chaos-mode, welcome. You’re not broken, you’re just a writer whose process has been hijacked by Very Serious Advice™ that doesn’t fit you. You don’t need to build a military-grade beat sheet. You don’t need a sixteen-tab spreadsheet. You don’t need to suffer to be legitimate. You just need a structure that feels like it’s helping you, not haunting you.

So. Here’s how to outline your book without losing your soul (or all your serotonin).

—

🍓 1. Stop thinking of it as “outlining.” That word is cursed. Try “story sketch.” “Narrative roadmap.” “Planning soup.” Whatever gets your brain to chill out. The goal here is to understand your story, not architect it to death.

Outlining isn’t predicting everything. It’s just building a scaffold so your plot doesn't fall over mid-draft.

—

🧠 2. Find your plot skeleton. There are lots of plot structures floating around: 3-Act. Save the Cat. Hero’s Journey. Take what helps, ignore the rest.

If all else fails, try this dirt-simple one I use when my brain is mush:

Act I: What’s the problem?

Act II: Why can’t we fix it?

Act III: What finally makes us change?

Ending: What does that change cost?

You don’t need to fill in every detail. You just need to know what’s driving your character, what’s blocking them, and what choices will change them.

—

🛒 3. Make a “scene bucket list.” Before you start plotting in order, write down a list of scenes you know you want: key vibes, emotional beats, dramatic reveals, whatever.

These are your anchors. Even if you don’t know where they go yet, they’re proof your story already exists, it just needs connecting tissue.

Bonus: when you inevitably get stuck later, one of these might be the scene that pulls you back in.

—

🧩 4. Start with 5 key scenes. That’s it. Here’s a minimalist approach that won’t kill your momentum:

Opening (what sucks about their world?)

Catalyst (what throws them off course?)

Midpoint (what makes them confront themselves?)

Climax (what breaks or remakes them?)

Ending (what’s changed?)

Plot the spaces between those after you’ve nailed these. Think of it like nailing down corners of a poster before smoothing the rest.

You’re not “doing it wrong” if you start messy. A messy start is a start.

—

🔧 5. Use the outline to ask questions, not just answer them. Every section of your outline should provoke a question that the scene must answer.

Instead of: — “Chapter 5: Sarah finds a journal.”

Try: — “Chapter 5: What truth does Sarah find that complicates her next move?”

This makes your story active, not just a list of stuff that happens. Outlines aren’t just there to record, they’re tools for curiosity.

—

🪤 6. Beware of the Perfectionist Trap™. You will not get the entire plot perfect before you write. Don’t stall your momentum waiting for a divine lightning bolt of Clarity. You get clarity by writing.

Think of your outline as a map drawn in pencil, not ink. It’s allowed to evolve. It should evolve.

You’re not building a museum exhibit. You’re making a prototype.

—

🧼 7. Clean up after you start drafting. Here’s the secret: the first draft will teach you what the story’s actually about. You can go back and revise the outline to fit that. It’s not wasted work, it’s evolving scaffolding.

You don’t have to build the house before you live in it. You can live in the mess while you figure out where the kitchen goes.

—

🛟 8. If you’re a discovery writer, hybrid it. A lot of “pantsers” aren’t anti-outline, they’re just anti-stiff-outline. That’s fair.

Try using “signposts,” not full scenes:

Here’s a secret someone’s hiding.

Here’s the emotional breakdown scene.

Here’s a betrayal. Maybe not sure by who yet.

Let the plot breathe. Let the characters argue with your outline. That tension is where the fun happens.

—

🪴 TL;DR but emotionally: You don’t need a flawless outline to write a good book. You just need a loose net of ideas, a couple of emotional anchors, and the willingness to pivot when your story teaches you something new.

Outlines should support you, not suffocate you.

Let yourself try. Let it be imperfect. That’s where the good stuff lives.

Go forth and outline like a gently chaotic legend 🧃

— written with snacks in hand by Rin T. @ thewriteadviceforwriters 🍓🧠✍️

Sometimes the problem isn’t your plot. It’s your first 5 pages. Fix it here → 🖤 Free eBook: 5 Opening Pages Mistakes to Stop Making:

[variousxreader]

✏️ Writing Dialogue That Sounds Like Real People, Not Theater Kids on Red Bull

(a crash course in vibes, verbal economy, and making your characters shut up already)

Okay. We need to talk about dialogue. Specifically: why everyone in your draft sounds like they’re in a high school improv group doing a dramatic reading of Riverdale fanfiction.

Before you panic, this is normal. Early dialogue is almost always too much. Too polished. Too "scripted." So if yours feels off? You’re not failing. You’re just doing Draft Zero Dialogue, and it’s time to revise it like a boss.

Here’s how to fix it.

─────── ✦ ───────

🎭 STEP ONE: DETOX THEATER ENERGY I say this with love: your characters are not all quippy geniuses. They do not need to deliver emotional monologues at every plot beat. They can just say things. Weird, half-finished, awkward things.

Real people:

interrupt each other

trail off mid-thought

dodge questions

contradict themselves

repeat stuff

change the subject randomly

Let your characters sound messy. Not every line needs to sparkle. In fact, the more effort you put into making dialogue ✨perfect✨, the more fake it sounds. Cut 30% of your clever lines and see what happens.

─────── ✦ ───────

🎤 STEP TWO: GIVE EACH CHARACTER A VERBAL FINGERPRINT The fastest way to make dialogue feel alive? Make everyone speak differently. Think rhythm, grammar, vocabulary, tone.

Some dials you can twist:

Long-winded vs. clipped

Formal vs. casual

Emojis of speech: sarcasm, filler words, expletives, slang

Sentence structure: do they talk in fragments? Run-ons? Spirals?

Emotion control: are they blunt, diplomatic, avoidant, performative?

Here’s a shortcut: imagine what your character sounds like over text. Are they the “lol okay” type or the “okie dokie artichokie 🌈✨” one? Now translate that into speech.

─────── ✦ ───────

🧠 STEP THREE: FUNCTION > FILLER Every line of dialogue should do something. Reveal something. Move something. Change something.

Ask:

Does this line push the plot forward?

Does it show character motivation/conflict/dynamic?

Does it create tension, add context, or raise a question?

If it’s just noise? It’s dead air. Cut it. Replace it with a glance. A gesture. A silence that says more.

TIP: look at a dialogue scene and remove every third line. Does the scene still work? Probably better.

─────── ✦ ───────

💥 STEP FOUR: REACTIVITY IS THE GOLD STANDARD Characters don’t talk into a void. They respond. And how they respond = the real juice.

Don’t just write back-and-forth ping pong. Write conflict, dodge, misunderstanding. If one character says something vulnerable, the other might joke. Or ignore it. Or say something cruel. That’s tension.

Dialogue is not just information exchange. It’s emotional strategy.

Try this exercise: A says something revealing. B lies. A notices, but pretends they don’t. B changes the subject. Now you’ve got a real scene.

─────── ✦ ───────

🔍 STEP FIVE: PAY ATTENTION TO POWER Every convo has a power dynamic, even if it’s tiny. Who’s steering? Who’s withholding? Who’s deflecting, chasing, challenging?

Power can shift line to line. That shift = tension. And tension = narrative fuel.

Write conversations like chess matches, not ping pong.

─────── ✦ ───────

✂️ STEP SIX: SCISSORS ARE YOUR BEST FRIEND The best dialogue is often the second draft. Or third. Or fourth. First drafts are just you figuring out what everyone wants to say. Later drafts figure out what they actually would say.

Things to cut:

Greetings/closings ("Hi!" "Bye!"--skip it unless it serves tone)

Exposition disguised as chat

Obvious thoughts spoken aloud

Explaining jokes

Repeating what we already know

Readers are smart. Let them fill in blanks.

─────── ✦ ───────

🎧 STEP SEVEN: READ IT OUT LOUD (YES, REALLY) If you hate this step: too bad. It works. Read it. Mumbling is fine. Cringe is part of the ritual.

Ask yourself:

Would someone actually say this?

Does this sound like one person speaking, or a puppet show with one hand?

Where does the rhythm trip? Where’s the breath?

If you can’t say it out loud without wincing, the reader won’t make it either. Respect the vibe.

─────── ✦ ───────

🏁 TL;DR: If you want your dialogue to sound like real people, let your characters be real. Messy. Annoying. Human. Let them interrupt and lie and joke badly and say the wrong thing at the worst time.

Cut the improv class energy. Kill the urge to be ✨brilliant✨. And listen to how people talk when they’re scared, tired, pissed off, in love, or trying not to say what they mean.

That’s where the good stuff is.

—rin t. // thewriteadviceforwriters // official advocate of awkward silences and one-word replies

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:

[variousxreader]

[variousxreader]

I've been working on planning the Isekai fic; its a lot of outline to ensure a smooth process and that i don't get burnt out. Life is busy as hell right now and i must attend to reality first and foremost

[variousxreader]

My followers know I hate talking about politics and current events, and generally refuse to do so, but this is important.

A bill has been introduced in the US that would make all pornography a federal crime. Owning it. Creating it. Distributing it.

Under this law, fanart of nude characters would be a federal crime.

Under this law, depictions of homosexuality or simply being transgender, would be considered pornography and a federal crime.

This bill is not going to pass.

However, the reason for this bill is to continue to push the "overton window". The reason for this bill is to make banning pornography seem more and more normal to everyone until they can actually do that.

And remember, they consider depictions of gay characters and transgenders characters "pornography" in any context, including platonic.

They have been working on this for a decade now and it has been working.

If you are one of the people in fandom who thinks that "nasty" porn on AO3 should be banned because it's "icky" or "immoral", then this mental scam is working on you.

Censorship is never about protecting people.

Censorship is always about control.

Do not let the rising moral panic affect your mind and make you weak to propaganda that lets others control you and control what you watch and read.

Do not fall for the scam.

When they say they are going to ban "pornography" it means they're going to ban anything they don't like by calling it "pornography" and they don't like you!!

[variousxreader]

ed zitron, a tech beat reporter, wrote an article about a recent paper that came out from goldman-sachs calling AI, in nicer terms, a grift. it is a really interesting article; hearing criticism from people who are not ignorant of the tech and have no reason to mince words is refreshing. it also brings up points and asks the right questions:

if AI is going to be a trillion dollar investment, what trillion dollar problem is it solving?

what does it mean when people say that AI will "get better"? what does that look like and how would it even be achieved? the article makes a point to debunk talking points about how all tech is misunderstood at first by pointing out that the tech it gets compared to the most, the internet and smartphones, were both created over the course of decades with roadmaps and clear goals. AI does not have this.

the american power grid straight up cannot handle the load required to run AI because it has not been meaningfully developed in decades. how are they going to overcome this hurdle (they aren't)?

people who are losing their jobs to this tech aren't being "replaced". they're just getting a taste of how little their managers care about their craft and how little they think of their consumer base. ai is not capable of replacing humans and there's no indication they ever will because...

all of these models use the same training data so now they're all giving the same wrong answers in the same voice. without massive and i mean EXPONENTIALLY MASSIVE troves of data to work with, they are pretty much as a standstill for any innovation they're imagining in their heads

[variousxreader]

comic about girlfriends

[variousxreader]

Full offense but your writing style is for you and nobody else. Use the words you want to use; play with language, experiment, use said, use adverbs, use “unrealistic” writing patterns, slap words you don’t even know are words on the page. Language is a sandbox and you, as the author, are at liberty to shape it however you wish. Build castles. Build a hovel. Build a mountain on a mountain or make a tiny cottage on a hill. Whatever it is you want to do. Write.

[variousxreader]

refseek.com

www.worldcat.org/

link.springer.com

http://bioline.org.br/

repec.org

science.gov

pdfdrive.com

[variousxreader]

current fan creation landscape is kinda like if you went to a party with a homemade cake and everyone takes a slice and silently thumbs up at you with no attempt to start a conversation except for occasionally some guy sits in the corner with a tape recorder critiquing the cake as though he was a restaurant critic and another guy is handing the cake to an uber driver like "yeah i need you to find a restaurant that makes cake like this so i can have more of it" and the only person that's talked to you in 30 minutes is a very sweet little guy who was like "hey i liked your cake" and then ran away apologizing for bothering you the moment you said thank you.

[variousxreader]

If you guys are like me, and you struggle a little with describing locations, can I suggest…

as a lifesaver.