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Normalize leaving unhinged comments on ao3 fics you like. I'm tired of being the only one brave enough to write "I am chewing on this fic" in the comment section. Be weird. Authors will love you for it

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Fairy Tale Bingo 2025

Welcome to Fairy Tale Bingo 2025, where dreams are made and happily ever afters come true. Or do they? That dear creator is up to you.

Fairy Tale Bingo is a flash even inspired by fairy tales, mythology, legends, fables, etc. Here is the general information and rules for the updated 2025 event. General Rules and Guidelines

Each participant can receive up to two cards

There are two card sizes available, Flash 1x5 and Mini 3x3

There are two themes for cards, Disney and Grimm

You can have a Disney, Grimm, or Mixed Card

Disney prompts are happily ever after prompts, if something happened in a Disney or Disney adjacent style movie or book, then it is up for grabs to be a prompt.

Grimm prompts are darker in nature. They will generally be NSFW such as rape/non-con, death, blood, gore, violence, torture, etc.

If you do not want any of these prompts, select a Disney or Mixed, but note if you don’t want one or two of the categories listed above. If you want a darker Disney that is an option, leave me a note.

If you participated last year, and didn’t finish your card, no problem. You can still get two new cards for this year and combine prompts from last year.

If you are a minor, you will not receive a Grimm card.

If you are a minor, your works should be rated G and T, nothing above that.

You can combine multiple prompts in whatever you create.

Tag your works appropriately.

Interpret the prompts how you want, the possibilities are endless.

You can combine this card/s with other events, as long as it is allowed in the other events rules.

It can be apart of a previous work, but should be a new chapter or part in a series.

You can create whatever you want. Fanfic, original work, poetry, moodboards, playlists, tiktok videos, etc, all open for creating.

NO Generative AI!!!!

If you have any questions, feel free to send me a DM or ask. I will get back to you as quickly as I can.

As I’m only one person, I can’t give a deadline on when cards will be going out. I will work on them, as quickly as I can with the time I have. I will try to have a queue list available for you. I will update as cards are made and sent.

If you are wanting a reblog tag @fairytalebingo and use the tag #fairytale bingo

Sign Up Form Here

AO3 Collection Here @thebigbangblogproject

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btw. your search for the most morally upright and ethical piece of media that has the most correct “representation” will destroy your ability to find the most profound and beautiful and human of stories. and may even destroy the stories themselves before they are created. if you even care.

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Unreliable narrators are one hell of an idea. You can just write whatever, and if a reader points out "hey the way this scene happened should not be physically possible if it's done the way this character described it", you can just be like "yeah I don't trust that fucker either."

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The Red Shoes ♥️

A ballet piece inspired by the 1948 film based on the story by Hans Christian Andersen! 🩰

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Zoom In, Don’t Glaze Over: How to Describe Appearance Without Losing the Plot

You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”

We don’t know them.

We’ve just met their tropes.

Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.

So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.

1. Hair: It’s About Story, Texture, and Care

Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?

Good hair description considers:

Texture (fine, coiled, wiry, limp, soft)

Context (windblown, sweat-damp, scorched by bleach)

Emotion (does she twist it when nervous? Is he ashamed of losing it?)

Flat: “Her long brown hair framed her face.”

Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”

You don’t need to romanticise it. You need to make it feel real.

2. Eyes: Less Color, More Connection

We get it: her eyes are violet. Cool. But that doesn’t tell us much.

Instead of focusing solely on eye color, think about:

What the eyes do (do they dart, linger, harden?)

What others feel under them (seen, judged, safe?)

The surrounding features (dark circles, crow’s feet, smudged mascara)

Flat: “His piercing blue eyes locked on hers.”

Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”

You’re not describing a passport photo. You’re describing what it feels like to be seen by them.

3. Facial Features: Use Contrast and Texture

Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.

Things to look for:

Asymmetry and character (a crooked nose, a scar)

Expression patterns (smiling without the eyes, habitual frowns)

Evidence of lifestyle (laugh lines, sun spots, stress acne)

Flat: “She had a delicate face.”

Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”

Let the face be a map of experience.

4. Bodies: Movement > Measurement

Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?

Ask:

What do others notice first? (a presence, a posture, a sound?)

How does their body express emotion? (do they go rigid, fold inwards, puff up?)

Flat: “He was tall and muscular.”

Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”

Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.

5. Let Emotion Tint the Lens

Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.

In love: The chipped tooth becomes charming.

In rivalry: The smirk becomes smug.

In mourning: The face becomes blurred with memory.

Same person. Different lens. Different description.

6. Specificity is Your Superpower

Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.

Examples:

“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”

“Her nail polish was always chipped, but never accidentally.”

Make the reader feel like they’re the only one close enough to notice.

Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.

Zoom in on the details that matter. Skip the clichés. Let each description carry weight, story, and emotion. Because you’re not building paper dolls. You’re building people.

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So, okay, fun fact. When I was a freshman in high school… let me preface by saying my dad sent me to a private school and, like a bad organ transplant, it didn’t take. I was miserable, the student body hated me, I hated them, it was awful.

Okay, so, freshman year, I’m deep in my “everything sucks and I’m stuck with these assholes” mentality. My English teacher was a notorious hard-ass, let’s call him Mr. Hargrove. He was the guy every student prayed they didn’t get. And, on top of ALL OF THE SHIT I WAS ALREADY DEALING WITH, I had him for English.

One of the laborious assignments he gave us was to keep a daily journal. Daily! Not monthly or weekly. Fucking daily. Handwritten. And we had to turn it in every quarter and he fucking graded us. He graded us on a fucking journal.

All of my classmates wrote shit like what they did that day or whatever. But, I did not. No, sir. I decided to give the ol’ middle finger to the assignment and do my own shit.

So, for my daily journal entries, over the course of an entire year, I wrote a serialized story about a horde of man-eating slugs that invaded a small mining town. It was graphic, it was ridiculous, it was an epic feat of rebellion.

And Mr. Hargrove loved it.

It wasn’t just the journal. Every assignment he gave us, I tried to shit all over it. Every reading assignment, everyone gushed about how good it was, but I always had a negative take. Every writing assignment, people wrote boring prose, but I wrote cheesy limericks or pulp horror stories.

Then, one day, he read one of my essays to the class as an example of good writing. When a fellow student asked who wrote it, he said, “Some pipsqueak.”

And that’s when I had a revelation. He wanted to fight. And since all the other students were trying to kiss his ass, I was his only challenger.

Mr. Hargrove and I went head-to-head on every assignment, every conversation, every fucking thing. And he ate it up. And so did I.

One day, he read us a column from the Washington Post and asked the class what was wrong with it. Everyone chimed in with their dumbass takes, but I was the one who landed on Mr. Hargrove’s complaint: The reporter had BRAZENLY added the suffix “ize” to a verb.

That night I wrote a jokey letter to the reporter calling him out on the offense in which I added “ize” to every single verb. I gave it to Mr. Hargrove, who by then had become a friendly adversary, for a chuckle and he SENT IT TO THE REPORTER.

And, people… The reporter wrote back. And he said I was an exceptional student. Mr. Hargrove and I had a giggle about that because we both knew I was just being an asshole, but he and the reporter acknowledged I had a point.

And that was it. That was the moment. Not THAT EXACT moment, but that year with Mr. Hargrove taught me I had a knack for writing. And that knack was based in saying “fuck you” to authority. (The irony that someone in a position of authority helped me realize that is not lost on me.)

So, I can say without qualification that Mr. Hargrove is the reason I am now a professional writer. Yes, I do it for a living. And most of my stuff takes authorities of one kind or another to task.

Mr. Hargrove showed me my dissent was valid, my rebellion was righteous, and that killer slugs could bring a city to its knees. Someone just needs to write it.

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People don’t owe you their downtime! And I don’t mean this in a harsh way, but in a “quit breaking your own heart” way.

It’s so easy to see a friend “active” and reblogging on tumblr, or maybe making a status update on Facebook and feel hurt they haven’t replied to our messages.

Different things take different energy. And someone being “online” but not actively talking to you does not mean they no longer love or care about you.

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worldbuilding writers will say "this isn’t ready to be written yet" and then spend 6 years drawing maps and creating a 43-page cultural hierarchy pdf

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I would say yes, but I'm also autistic, so idk, lol

Is it normal for dreams to have reoccurring original characters and a magic system or is it just an autism thing

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That feeling when you get a comment on every single one of your stories in one of your series!!!

!!! This!!

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⋆˚࿔ excuse prompts 𝜗𝜚˚⋆

¹⁾ “we were so drunk.”

²⁾ “i was trying to protect you!”

³⁾ “i never thought it would go this far.”

⁴⁾ “this wasn’t supposed to happen, i swear.”

⁵⁾ “he swore he wouldn’t tell anyone.”

⁶⁾ “you’re- you’re never around anymore!”

⁷⁾ “if i’d have waited any longer, the outcome would have been so much worse.”

⁸⁾ “you started this shit, i’m only trying to get us out of it!”

⁹⁾ “i… i just wanted the chance to prove myself to you.”

¹⁰⁾ “yeah, ‘cause you’re all such fucking saints.”

¹¹⁾ “i was handling it fine until you got involved!”

¹²⁾ “i wasn’t thinking, that’s the whole point!”

¹³⁾ “you didn’t give me any other choice.”

¹⁴⁾ “i gave you a pass when the roles were reversed, so maybe a little understanding wouldn’t kill you.”

¹⁵⁾ “if this were anyone else, you wouldn’t be riding them half as hard and you know it.”

¹⁶⁾ “you’ve been under so much pressure… i thought i could take a little of it off you by taking care of it.”

¹⁷⁾ “all i did was put my trust in the wrongs person.”

¹⁸⁾ “if you hadn’t chewed me out so damn hard for asking for your help last time, maybe i would’ve felt safe enough to do it again.”

¹⁹⁾ “do you have any idea what it feels like to be lonely in your own house? of course you don’t, because you’re never fucking here!”

²⁰⁾ “i didn’t think you’d care. nothing else ever seems to make you, so why should this!”

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ANTAGONISM — MEETINGS

"Still mad?" "Missed me?" "Get out. Now." "Who let you in?!" "Why are you here?" "What do you want?" "Read my lips: no." "You don't scare me." "Hey, put that back!" "You are not welcome." "Move out of the way." "Don't be like that..." "Don't test me today." "Do you mind? I'm busy." "Don't come any closer." "Showing your face again?" "You expect me to apologize?" "I won't say it again: leave it." "You know I can't let you in." "I don't trust you to behave." "You being here is bad enough." "Have you nothing better to do?" "I thought you didn't trust me?" "I don't wanna deal with this…" "I'm not here as a favor to you." "Are you still holding a grudge?" "Your presence befouls this place." "Is there a… reason you're here?" "I didn't expect to find you here." "I should just kill you right now." "What more could you possibly want?" "Do you mind getting out of the way?" "Don't you have hobbies or something?" "You're threading a dangerous line…" "What? No open arms, no welcome back?" "Cut to the chase — why call me here?" "Do they just let anyone walk in here?" "How did you… the doors were locked!" "You're not sorry, don't even pretend." "You've chosen a bad day to bother me." "Come now, no need for such hostility." "Do you find amusement in harassing me?" "You being here is enough to ruin my day." "I don't care, you need to let me through." "You should have killed me… but you didn't." "So… standoffish. Am I not allowed to visit?" "You better have a good reason for ignoring me." "Here, I brought you something!" *Middle finger.* "Seeing your face sour at the sight of me is funny." "Is that what I am to you? An annoyance? A pest?" "Were you expecting me? What a… warm welcome." "No. Whatever you're about to ask, the answer is no." "Do you just think it's funny to get me into trouble?" "You think you can just walk in here after what you did?" "I'm not going to be intimidated into letting you through." "Doesn't matter what you say, I'm not doing you any favors." "You'll forgive me for being curt, but please, leave me alone." "Grow up. We can hate each other's guts and still do business." "I won't be held responsible for what I do if you don't get out of my face." "Isn't it funny that I'm right here and you can't do anything to me right now?"

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‿︵‿୨♡୧‿︵‿

selkie a la mode corset

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do you ever just … picture a whole scene, a whole fanfiction in your head, you know how to place every single word of the english dictionary that you need (or your language dictionary), you know how to structure your sentences, you know just what your characters are going to say to each other and then… and then you just open microsoft word.