15milltears

[15milltears]

ASKING FOR FIC RECS SET IN THE ALT TIMELINE FROM ENDGAME

pretty please. loki on the loose. hydra thinking steve is one of them. steve knowing about bucky. i need recs pls

[15milltears]

some fucking resources for all ur writing fuckin needs

* body language masterlist

* a translator that doesn’t eat ass like google translate does

* a reverse dictionary for when ur brain freezes

* 550 words to say instead of fuckin said

* 638 character traits for when ur brain freezes again

* some more body language help

(hope this helps some ppl)

[15milltears]

Show, don’t tell

"Show, don’t tell" means letting readers experience a story through actions, senses, and dialogue instead of outright explaining things. Here are some practical tips to achieve that:

1. Use Sensory Details

Tell: "The room was cold."

Show: "Her breath puffed in faint clouds, and she shivered as frost clung to the edges of the window."

Tell: "He was scared."

Show: "His hands trembled, and his heart thudded so loudly he was sure they could hear it too."

2. Focus on Actions

Tell: "She was angry."

Show: "She slammed the mug onto the counter, coffee sloshing over the rim as her jaw clenched."

Tell: "He was exhausted."

Show: "He stumbled through the door, collapsing onto the couch without even bothering to remove his shoes."

3. Use Dialogue

What characters say and how they say it can reveal their emotions, intentions, or traits.

Tell: "She was worried about the storm."

Show: "Do you think it'll reach us?" she asked, her voice tight, her fingers twisting the hem of her shirt.

4. Show Internal Conflict Through Thoughts or Reactions

Tell: "He was jealous of his friend."

Show: "As his friend held up the trophy, he forced a smile, swallowing the bitter lump rising in his throat."

5. Describe the Environment to Reflect Mood

Use the setting to mirror or hint at emotions or themes.

Tell: "The town was eerie."

Show: "Empty streets stretched into the mist, and the only sound was the faint creak of a weathered sign swinging in the wind."

6. Let Readers Infer Through Context

Give enough clues for the reader to piece things together without spelling it out.

Tell: "The man was a thief."

Show: "He moved through the crowd, fingers brushing pockets, his hand darting away with a glint of gold."

7. Use Subtext in Interactions

What’s left unsaid can reveal as much as what’s spoken.

Tell: "They were uncomfortable around each other."

Show: "He avoided her eyes, pretending to study the painting on the wall. She smoothed her dress for the third time, her fingers fumbling with the hem."

8. Compare to Relatable Experiences

Use metaphors, similes, or comparisons to make an emotion or situation vivid.

Tell: "The mountain was huge."

Show: "The mountain loomed above them, its peak disappearing into the clouds, as if it pierced the heavens."

Practice Example:

Tell: "The village had been destroyed by the fire."

Show: "Charred beams jutted from the rubble like broken ribs, the acrid smell of ash lingering in the air. A child's shoe lay half-buried in the soot, its leather curled from the heat."

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Susan Sontag, As Consciousness Is Harnessed to Flesh

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Love Will Guide Us - E.C - Nov. 1st, 2021

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Louise Glück, from “Persephone the Wanderer.”

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- Chad Abushanab, Halloween.

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for request, may I ask for something with the theme "devotion as violence?"

@achillics, vulnerability

Joan Tierney (x)

Richard Siken, Wishbone

Ada Limón, The Good Fight

José Olivarez, I WAKE IN A FIELD OF WOLVES WITH THE MOON

Lady Gaga, Judas

@bipeds (x)

Tom Lehrer, The Masochism Tango

Yves Olade, When Rome Falls

Florence + The Machine, Kiss With a Fist

Schuyler Peck, Horoscope for the Heartbroken

Venetta Octavia, I Set It in Stone

@heavensghost, Dead Girls Don’t Lie

Richard Siken, Snow and Dirty Rain

Dead Girl Walking, from Heathers: The Musical

Terrence Hayes, American Sonnets for My Past and Future Assassin

Richard Siken, Primer for the Small Weird Loves

Margaret Atwood, We are hard

[15milltears]

Story Structures for your Next WIP

hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.

everything in life has structure and storytelling is no different, so let’s dive right in :)

First off let’s just review what a story structure is :

a story is the backbone of the story, the skeleton if you will. It hold the entire story together.

the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.

1. Freytag's Pyramid

this first story structure i will be talking about was named after 19th century German novelist and playwright.

it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.

Freytag's Pyramid structure consists of:

Introduction: the status quo has been established and an inciting incident occurs.

Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,

Climax: the protagonist can no longer go back, the point of no return if you will.

Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...

Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.

this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.

2. The Hero's Journey

the hero's journey is a very well known and popular form of storytelling.

it is very popular in modern stories such as Star Wars, and movies in the MCU.

although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:

The Ordinary World: The hero's everyday routine and life is established.

The Call of Adventure: the inciting incident.

Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.

Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.

Crossing the First Threshold: first steps out of the comfort zone are taken.

Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.

Approach to the Inmost Cave: hero approaches goal.

The Ordeal: the hero faces their biggest challenge.

Reward (Seizing the Sword): the hero manages to get ahold of what they were after.

The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.

Resurrection: a final challenge, testing them on everything they've learned.

Return with the Elixir: after succeeding they return to their old life.

the hero's journey can be applied to any genre of fiction.

3. Three Act Structure:

this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.

Act 1: Setup:

exposition: the status quo or the ordinary life is established.

inciting incident: an event sets the whole story into motion.

plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.

Act 2: Confrontation:

rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.

midpoint: an event that derails the protagonists mission.

plot point two: the hero is tested and fails, and begins to doubt themselves.

Act 3: Resolution:

pre-climax: the hero must chose between acting or failing.

climax: they fights against the antagonist or danger one last time, but will they succeed?

Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.

4. Dan Harmon's Story Circle

it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.

the benefit of Harmon's approach is that is focuses on the main character's arc.

it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.

the character is in their comfort zone: also known as the status quo or ordinary life.

they want something: this is a longing and it can be brought forth by an inciting incident.

the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.

adapt to it: of course there are challenges, there is struggle and begin to succeed.

they get what they want: often a false victory.

a heavy price is paid: a realization of what they wanted isn't what they needed.

back to the good old ways: they return to their familiar situation yet with a new truth.

having changed: was it for the better or worse?

i might actually make a operate post going more in depth about dan harmon's story circle.

5. Fichtean Curve:

the fichtean curve places the main character in a series of obstacles in order to achieve their goal.

this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.

The Rising Action

the story must start with an inciting indecent.

then a series of crisis arise.

there are often four crises.

2. The Climax:

3. Falling Action

this type of story telling structure goes very well with flash-back structured story as well as in theatre.

6. Save the Cat Beat Sheet:

this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.

Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)

Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.

Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?

Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.

Catalyst [12]. The inciting incident!

Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.

Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.

B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.

The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.

Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.

Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.

All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.

Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)

Break into Three [85]. Armed with this new information, our protagonist decides to try once more!

Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.

Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.

(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)

7. Seven Point Story Structure:

this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.

this structure is about dramatic changes from beginning to end

The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.

Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.

Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.

Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.

Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.

Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.

Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.

(all information regarding the seven point story structure was copy and pasted directly from reedsy!)

i decided to fit all of them in one post instead of making it a two part post.

i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!

if you find this useful feel free to reblog on instagram and tag me at perpetualstories

Follow my tumblr and instagram for more writing and grammar tips and more!

[15milltears]

Quick editing tip: Passing time

Hey all, here’s a quick tip about showing the passage of short amounts of time in a scene. I see a lot of beats like this:

She hesitated

He paused

A few seconds later

There was a long silence

He waited for her to answer

She didn’t respond

Instead of telling us there’s a brief moment of silence or pause in your scene, try showing us by creating the feeling that time has passed through action, description, or inner monologue. Here are a few examples.

Before:

“Are you coming or not?”

He waited for her to answer, but she didn’t respond.

“Clare? Did you hear me?”

“Huh?”

After:

“Are you coming or not?”

Clare scrolled through her phone, her face illuminating with a eerie blue glow.

“Clare? Did you hear me?”

“Huh?”

Before:

Jared lingered at the suspect’s front gate. If this guy didn’t answer Jared’s questions, he was screwed.

“Hey you!” a voice shouted. “Get off my property!”

Jared hesitated. Finally, he turned to face the man. “I’m afraid I can’t do that.”

After:

Jared lingered at the suspect’s front gate. If this guy didn’t answer Jared’s questions, he was screwed.

“Hey you!” a voice shouted. “Get off my property!”

Jared patted his holster. He had a gun, but he certainly didn’t want to use it. Taking a deep breath, he turned to face the man. “I’m afraid I can’t do that.”

Not only does creating a pause instead of describing a pause allow your reader to feel the moment more vividly, it gives you a chance to explain what exactly that pause is about. People hesitate, pause, don’t respond, etc. for all kinds of reasons. Give us as much insight as you can into your weird quiet moment.

Of course, you don’t need to do this every single time. Sometimes it’s fine to say “he paused” or “the room was quiet for a moment”—it could be the best choice for that scene. But look back through your draft and see if you’ve used those “telling” descriptions more often than you needed to. If so, try to create the feeling of a pause—perhaps one that gives the reader a bit more information—using these techniques.

Hope this helps!

[15milltears]

Writing advice from my uni teachers:

If your dialog feels flat, rewrite the scene pretending the characters cannot at any cost say exactly what they mean. No one says “I’m mad” but they can say it in 100 other ways.

Wrote a chapter but you dislike it? Rewrite it again from memory. That way you’re only remembering the main parts and can fill in extra details. My teacher who was a playwright literally writes every single script twice because of this.

Don’t overuse metaphors, or they lose their potency. Limit yourself.

Before you write your novel, write a page of anything from your characters POV so you can get their voice right. Do this for every main character introduced.

[15milltears]

Writing advice #?: Have your characters wash the dishes while they talk.

This is one of my favorite tricks, picked up from E.M. Forester and filtered through my own domestic-homebody lens.  Forester says that you should never ever tell us how a character feels; instead, show us what those emotions are doing to a character’s posture and tone and expression.  This makes “I felt sadness” into “my shoulders hunched and I sighed heavily, staring at the ground as my eyes filled with tears.”  Those emotions-as-motions are called objective correlatives.  Honestly, fic writers have gotten the memo on objective correlatives, but sometimes struggle with how to use them.

Objective correlatives can quickly become a) repetitive or b) melodramatic.  On the repetitive end, long scenes of dialogue can quickly turn into “he sighed” and “she nodded” so many times that he starts to feel like a window fan and she like a bobblehead.  On the melodramatic end, a debate about where to eat dinner can start to feel like an episode of Jerry Springer because “he shrieked” while “she clenched her fists” and they both “ground their teeth.”  If you leave the objective correlatives out entirely, then you have what’s known as “floating” dialogue — we get the words themselves but no idea how they’re being said, and feel completely disconnected from the scene.  If you try to get meaning across by telling us the characters’ thoughts instead, this quickly drifts into purple prose.

Instead, have them wash the dishes while they talk.

To be clear: it doesn’t have to be dishes.  They could be folding laundry or sweeping the floor or cooking a meal or making a bed or changing a lightbulb.  The point is to engage your characters in some meaningless, everyday household task that does not directly relate to the subject of the conversation.

This trick gives you a whole wealth of objective correlatives.  If your character is angry, then the way they scrub a bowl will be very different from how they’ll be scrubbing while happy.  If your character is taking a moment to think, then they might splash suds around for a few seconds.  A character who is not that invested in the conversation will be looking at the sink not paying much attention.  A character moderately invested will be looking at the speaker while continuing to scrub a pot.  If the character is suddenly very invested in the conversation, you can convey this by having them set the pot down entirely and give their full attention to the speaker.

A demonstration:

1

“I’m leaving,” Anastasia said.

“What?”  Drizella continued dropping forks into the dishwasher.

2

“I’m leaving,” Anastasia said.

Drizella paused midway through slotting a fork into the dishwasher.  “What?”

3

“I’m leaving,” Anastasia said.

Drizella laughed, not looking up from where she was arranging forks in the dishwasher.  “What?”

4

“I’m leaving,” Anastasia said.

The forks slipped out of Drizella’s hand and clattered onto the floor of the dishwasher.  “What?”

5

“I’m leaving,” Anastasia said.

“What?”  Drizella shoved several forks into the dishwasher with unnecessary force, not seeming to notice when several bounced back out of the silverware rack.

See how cheaply and easily we can get across Drizella’s five different emotions about Anastasia leaving, all by telling the reader how she’s doing the dishes?  And all the while no heads were nodded, no teeth were clenched.

The reason I recommend having it be one of these boring domestic chores instead of, say, scaling a building or picking a lock, is that chores add a sense of realism and are low-stakes enough not to be distracting.  If you add a concurrent task that’s high-stakes, then potentially your readers are going to be so focused on the question of whether your characters will pick the lock in time that they don’t catch the dialogue.  But no one’s going to be on the edge of their seat wondering whether Drizella’s going to have enough clean forks for tomorrow.

And chores are a cheap-n-easy way to add a lot of realism to your story.  So much of the appeal of contemporary superhero stories comes from Spider-Man having to wash his costume in a Queens laundromat or Green Arrow cheating at darts, because those details are fun and interesting and make a story feel “real.”  Actually ask the question of what dishes or clothing or furniture your character owns and how often that stuff gets washed.  That’s how you avoid reality-breaking continuity errors like stating in Chapter 3 that all of your character’s worldly possessions fit in a single backpack and in Chapter 7 having your character find a pair of pants he forgot he owns.  You don’t have to tell the reader what dishes your character owns (please don’t; it’s already bad enough when Tolkien does it) but you should ideally know for yourself.

Anyway: objective correlatives are your friends.  They get emotion across, but for low-energy scenes can become repetitive and for high-energy scenes can become melodramatic.  The solution is to give your characters something relatively mundane to do while the conversation is going on, and domestic chores are not a bad starting place.

[15milltears]

Narrative Botox: Filler Words and Phrases to Look Out For

If you’re planning on publishing traditionally, chances are you keep a sharp eye on your word count. Literary agents and publishing houses are on the hunt for the best quality stories that they can print for the cheapest price (using the least paper and ink), so you have a higher chance of gaining representation if you can crank your novel out in the least words possible.

However, filler words and phrases aren’t only the enemies of aspiring traditional authors; every writer—fanfic, novelist, journalist, you name it!—should try to eliminate filler from their stories to assure more concise and high-quality writing. Oftentimes, filler contributes nothing but clutter, and without it, your narrative can flow smoother and in a more sophisticated manner.

But how do you know what’s filler and what’s not? Here are some tips on how to Ctrl+F and kick this narrative botox to the curb!

I compiled these lists with the help of Infusionmedia, BDR Publishing, and ResetEra !

Filler Words

1. Just

A writer’s worst enemy, and the bane of my manuscripts’ existences. Eliminating all the ‘just’s can cut down your word count by hundreds.

2. “That” as a conjunction

It’s an unnecessary addition to a sentence, which will be more streamlined without it.

Example: “He said that he wouldn’t do it again.”

Revised: “He said he wouldn’t do it again.”

3. “Now” as an adverb

“Now” is essential if you’re talking about the past and present, but when you’re using it to draw attention to a particular statement or point.

Example: “Now, I didn’t think it’d get so out of hand.”

Revised: “I didn’t think it’d get so out of hand.”

4. Redundant adverbs

These adverbs serve no purpose because the verbs they’re describing already imply the way the action is performed.

Whispering softly

Yelling loudly

Crying sadly

Laughing happily

5. “Telling” words

These words are redundant, especially when using first person, because in describing an event, we can already assume that the characters are experiencing it.

Seeing/saw

Feeling/felt

Hearing/heard

Smelling/smelled

6. “Clarifying” words used to portray definiteness or indefiniteness

Although these are meant to help out the readers get their bearings on a situation, all they do is come across as wishy-washy! Be concise and sure of yourself!

About

Absolutely

Accordingly

Actually

Almost

Basically

Certainly

Clearly

Completely

Entirely

Even

Exactly

Fairly

Highly

Hopefully

Literally

Maybe

Only

Often

Oftentimes

Perhaps

Possibly

Probably

Quite

Rather

Really

Reasonably

Relatively

Seem

Seriously

Simply

Slightly

Some

Somehow

Sometimes

Totally

Very

Filler Phrases

1.“Let out (vocal noise)”

Use the verb instead!

Example: “He let out a sigh.”

Revised: “He sighed.”

2. Using passive voice

Passive voice inflates your word count by including various “to be” verbs into the prose. Passive voice involves actions happening to a subject rather than the subject performing an action, and as a result isn’t as riveting to the reader as active voice; even if it wasn’t a matter of word count, you’d still want to get rid of it anyway!

Still don’t know what I’m talking about? Check out this article from Grammarly.

Example: “The boy was bitten by the dog on his arm.”

Revised: “The dog bit the boy on his arm.”

3. Describing the wrong noun

Many writers will be as specific as possible about what “thing” is affected by the event they’re describing, when it’s much simpler to take a step back and write about something more general.

Example: “The level of water rose.”

Revised: “The water rose.”

4. Phrasal verbs

Phrasal verbs are the combination of two or three words from different grammatical categories—a verb and an adverb or a preposition—to form a single action. Usually, these phrasal verbs can be replaced by a single-word verb.

“Ask for” can be replaced with “request”

“Bring down” can be replaced with “reduce”

“Come across” can be replaced with “find”

Etc.

5. Clarifying phrases

Same reason as clarifying words. Get to the point!

A bit

A little

A lot

In a sense

Kind of

Sort of

6. Remember your contractions!

Even if your story takes place in olden times, I can guarantee that if you never use any contractions ever, your story’s gonna be a clunky mess. But sometimes you’re in the moment, consumed by the poetic power of the muses, and forget that this isn’t a soap opera; so make sure you check that you’ve been using your contractions!

It is, it was, it would, she is, would not, should not, is not, does not etc.

7. Inflated phrases

These phrases can be replaced with more concise words.

Along the lines of (shorten to: like)

As a matter of fact (in fact)

As to whether (whether)

At all times (always)

At the present (now or currently)

At this point in time (now or currently)

Be able to/would(n’t) be able to (could or couldn’t)

Because of the fact that (because)

By means of (by)

Due to the fact that (because)

Even though (though or although)

For the purpose of (for)

For the reason that (because)

Have the ability to (could)

In light of the fact that (because)

In order to (to)

In regards to (on or about)

In spite of the fact that (though or although)

In the event that (if)

In the nature of (like)

In the neighborhood of (about)

On the occasion of (when)

On one/two separate occasions (Once/twice)

The/A majority of (most)

There is no doubt that (No doubt)

Wasn(n’t) capable of (could or couldn’t)

Hope this helped, and happy writing!

[15milltears]

One of the best tips for writing descriptions of pain is actually a snippet I remember from a story where a character is given a host of colored pencils and asked to draw an egg.

The character says that there’s no white pencil.  But you don’t need a white pencil to draw a white egg.  We already know the egg is white.  What we need to draw is the luminance of the yellow lamp and the reflection of the blue cloth and the shadows and the shading.

We know a broken bone hurts.  We know a knife wound hurts.  We know grief hurts.  Show us what else it does.

You don’t need to describe the character in pain.  You need to describe how the pain affects the character - how they’re unable to move, how they’re sweating, how they’re cold, how their muscles ache and their fingers tremble and their eyes prickle.

Draw around the egg.  Write around the pain.  And we will all be able to see the finished product.

[15milltears]

maybe when i say i have a bad memory what i mean is           just that.                            i’m filled on bad memories. [brain replays the departure] i, more hollow i, more abandoned:                                           memory works in association.                                           you will always associate two together. maybe my brain can’t unwind love from     [            ] can’t dissociate the building of a home from the breaking of an entryway. don’t know what it is to get lost in someone and not lose yourself. falling [in love] and falling. perhaps by not remembering i am protecting myself. perhaps forgetting is self-preservation.

when i meet someone, i ask them to tell me their name. i say it aloud hoping it’ll stay, hoping they’ll stay. i can’t recall if anyone ever did.

— Porsha Olayiwola, from “Memory / Loss,” i shimmer sometimes, too

[15milltears]

Alain de Botton // Jon Kabat-Zinn // unknown

[15milltears]

thinking of when vincent van gogh said that “poverty stops the best minds in their tracks” and how art would see a new era if we funded struggling independent artists instead of hiring talentless nepotism babies.