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[mahalii]

MOVING BLOGS ; YOU CAN FIND ME AT @mahalii

[mahalii]

MOVING BLOGS ; YOU CAN FIND ME AT @mahalii

[mahalii]

MOVING BLOGS ; YOU CAN FIND ME AT @mahalii

[mahalii]

MOVING BLOGS ; YOU CAN FIND ME AT @mahalii

[mahalii]

MOVING BLOGS ; YOU CAN FIND ME AT @mahalii

[mahalii]

MOVING BLOGS ; YOU CAN FIND ME AT @mahalii

[mahalii]

i moved blogs & made a post over there !!

𝐣𝐞𝐧𝐲𝐚 𝐧𝐚𝐬𝐚𝐧𝐠𝐤𝐚𝐢 ━━ forgotten sun characters 1/8

“Chief Ateeyah wants you to be there since your ba is…well, was the kumander. It’s to honor his life,” Kiet said with a hint of regret and sweet sorrow hidden in his voice. It made Jenya’s blood boil.

“He didn’t die, Kiet,” she snapped.

“Jenya, it’s been almost a month since he disappeared. Sooner or later you’ll have to accept that he—”

“That he what?” Her vision flattened to slits. Jenya looked at Kiet with an acidic glare, almost daring him, begging him, to shout in her face and scream he is dead! Kumander Nasangkai, ba, is dead! But the mere thought made her heart sink to her stomach. And with it, she lowered her gaze to the dried petals strewn across the cobblestone floor. Kiet was her best friend; she didn’t mean to raise her voice at him like that. “You know nothing.”

name : jenya nasangkai

pronouns : she / her

birthdate : 980 AE ( seventeen )

residence : the halamoori islands

occupation : soldier trainee

likes : listening to opera and radio broadcasts

dislikes : cold weather, loud popping noises

JENYA NEVER KNEW her ina; her mother. it was just her and ba and their little garden near the rice paddies for as long as she could recall. and that was alright. this was how she knew it to be. this was how it was supposed to be.

but alas, no sweet letter, no note. just the memory of her ba muttering the same word over and over again before he died, or disappeared—whatever the others liked to call it. but jenya knows the truth. one month ago before the sun was even given the chance to rise, her father stepped foot off of halamoor and never looked back again. 

and just like that, her entire world began crumbling apart. what was once a simple negotiation pact between the nations turned into one of the most brutal attacks from the imperial kingsmen. all she had ever known and grown up with on the islands, gone. 

so, what was it that made her father leave? could he have known about the raid and decided to escape without her? did he find something better out there in the world? whatever it is, jenya is sure she is going to find him for the answers, and she won’t stop until she does. 

because being reunited with her father and avenging her people is all she really wants. right?

Keep reading

[mahalii]

MOVING BLOGS ; YOU CAN FIND ME AT @mahalii

[mahalii]

MOVING BLOGS ; YOU CAN FIND ME AT @mahalii

[mahalii]

MOVING BLOGS ; YOU CAN FIND ME AT @mahalii

[mahalii]

( tagging some mutuals so they know )

@herondalelucies @atelierwriting @kazino @seasteading @akoumi @emdrabbles @mshelleys @casabii

MOVING BLOGS ; YOU CAN FIND ME AT @mahalii

[mahalii]

MOVING BLOGS ; YOU CAN FIND ME AT @mahalii

[mahalii]

if i hit 500 followers maybe my celebration will be completely revamping this blog & posting one excerpt from fs

[mahalii]

Whgskl. Okay.

PSA to all you fantasy writers because I have just had a truly frustrating twenty minutes talking to someone about this: it’s okay to put mobility aids in your novel and have them just be ordinary.

Like. Super okay.

I don’t give a shit if it’s high fantasy, low fantasy or somewhere between the lovechild of Tolkein meets My Immortal. It’s okay to use mobility devices in your narrative. It’s okay to use the word “wheelchair”. You don’t have to remake the fucking wheel. It’s already been done for you.

And no, it doesn’t detract from the “realism” of your fictional universe in which you get to set the standard for realism. Please don’t try to use that as a reason for not using these things.

There is no reason to lock the disabled people in your narrative into towers because “that’s the way it was”, least of all in your novel about dragons and mermaids and other made up creatures. There is no historical realism here. You are in charge. You get to decide what that means.

Also:

“Depiction of Chinese philosopher Confucius in a wheelchair, dating to ca. 1680. The artist may have been thinking of methods of transport common in his own day.”

“The earliest records of wheeled furniture are an inscription found on a stone slate in China and a child’s bed depicted in a frieze on a Greek vase, both dating between the 6th and 5th century BCE.[2][3][4][5]The first records of wheeled seats being used for transporting disabled people date to three centuries later in China; the Chinese used early wheelbarrows to move people as well as heavy objects. A distinction between the two functions was not made for another several hundred years, around 525 CE, when images of wheeled chairs made specifically to carry people begin to occur in Chinese art.[5]”

“In 1655, Stephan Farffler, a 22 year old paraplegic watchmaker, built the world’s first self-propelling chair on a three-wheel chassis using a system of cranks and cogwheels.[6][3] However, the device had an appearance of a hand bike more than a wheelchair since the design included hand cranks mounted at the front wheel.[2]

The invalid carriage or Bath chair brought the technology into more common use from around 1760.[7]

In 1887, wheelchairs (“rolling chairs”) were introduced to Atlantic City so invalid tourists could rent them to enjoy the Boardwalk. Soon, many healthy tourists also rented the decorated “rolling chairs” and servants to push them as a show of decadence and treatment they could never experience at home.[8]

In 1933 Harry C. Jennings, Sr. and his disabled friend Herbert Everest, both mechanical engineers, invented the first lightweight, steel, folding, portable wheelchair.[9] Everest had previously broken his back in a mining accident. Everest and Jennings saw the business potential of the invention and went on to become the first mass-market manufacturers of wheelchairs. Their “X-brace” design is still in common use, albeit with updated materials and other improvements. The X-brace idea came to Harry from the men’s folding “camp chairs / stools”, rotated 90 degrees, that Harry and Herbert used in the outdoors and at the mines.[citation needed]

“But Joy, how do I describe this contraption in a fantasy setting that wont make it seem out of place?”

“It was a chair on wheels, which Prince FancyPants McElferson propelled forwards using his arms to direct the motion of the chair.”

“It was a chair on wheels, which Prince EvenFancierPants McElferson used to get about, pushed along by one of his companions or one of his many attending servants.”

“But it’s a high realm magical fantas—”

“It was a floating chair, the hum of magical energy keeping it off the ground casting a faint glow against the cobblestones as {CHARACTER} guided it round with expert ease, gliding back and forth.”

“But it’s a stempunk nov—”

“Unlike other wheelchairs he’d seen before, this one appeared to be self propelling, powered by the gasket of steam at the back, and directed by the use of a rudder like toggle in the front.”

Give. Disabled. Characters. In. Fantasy. Novels. Mobility. Aids.

If you can spend 60 pages telling me the history of your world in innate detail down to the formation of how magical rocks were formed, you can god damn write three lines in passing about a wheelchair.

Signed, your editor who doesn’t have time for this ableist fantasy realm shit.

[mahalii]

expressions and how others see them

In writing, the expressions and body languages of our characters are very important; there are a few nifty tricks to convey meaning through facial expressions. Here’s a cheat sheet!

1) Discomfort

Rocking back on their heels because they want to escape the conversation, adjusting their weight on the seat because they’re uncomfortable, folding their arms tight across their chest; everyone expresses their disinterest or interest in different ways. Usually, out bodies pick up on the ‘this is wrong’ feeling, and try to settle so we feel comfortable. They chew on their bottom lip, their eyes flicking away before they’re forced to make eye-contact. They’re perched on the edge of their seat, ready to flee at a moments notice.

2) Sadness

Sadness is an emotion we tend to try and hide. It can lead to subsections of feelings, like embarrassment or guilt over whatever is causing us sadness. Your character’s eyes burn with the effort to hold back tears, and people see them visibly on edge; they’re shaking, they’re chewing on their lip in an effort to force the negative feelings away. Their brow is furrowed and they turn their body away from people like they’re trying to hide. When it gets too bad, their shoulders shake with the force of their tears, the heels of their palms pressing against their eyes in an attempt to push the tears back in. Their nose is runny and their face is splotchy, their eyes red-rimmed and the bags that lurk under concealer are exposed.

3) Anger

We all know anger. It’s where your cheeks flush and you feel hot and dizzy, all logical thought replaced with a burning need to get rid of whatever caused to feel this way in the first place. People see your character, their back straight and their shoulder square, barely keeping the adrenaline restrained to their body. Their eyes are narrowed, their fists are clenched, and the air around them seems to spark with electricity. They can’t keep still, or they’re too still; pacing or ramrod straight in their chair, their cheek twitching with a previously unnoticed tick.

4) Happiness

It’s a bit harder to pinpoint this when you feel it. Your character is floating on air, the air around them thrumming with glee at whatever has happened. Others see the smile that tugs their lips upward, the way the corners of their eyes crease and crinkle in a hidden grin. Their hands clasp together, and they press their fingers into the fat of their cheeks, bashful in how utterly content they feel. Their shoulders are relaxed as they dance around the kitchen, and the serene expression that coats their face is beautiful.

5) Guilt

The child that has their hands caught in the cookie jar, the accidental killer; guilt varies and expresses itself in different ways. Their eyes flick to the ceiling and their lips pull together tightly to avoid spilling the truth. They look down at their clasped hands, resting their head on the inside of their wrist so their hand covers their eyes. They’re self-conscious about what people can tell about them from their appearance, and they tug at their hair, pulling their shoulders tight together in a protective barrier.

6) Disgust

Disgust; at someone or something, a situation or place. Your character turns their nose up, and scrunches it at the putrid smells that hangs in the air. Their chin juts out arrogantly, the feelings of pride evident over this thing that is so clearly lesser. Their shoulders tense, and they step carefully to avoid anything they don’t want to touch. Their lips are a thin line, a barrage of insults dancing on the tip of their tongue. They squeeze their eyes closed for a quick moment, trying to regain their composure. They roll their eyes and cock their hip, ready to prove why exactly this thing is so horrible and disgusting.

7) Jealousy

Jealousy, over a person or thing. Material wealth or power. The tips of their ears burn red and their fists clench by their side, their lips pulling upward in the mockery of a snarl. Redness creeps down their neck, and they turn their nose up at whoever—or whatever—they are jealous of. They stare at a person, a shadow looming over their face as they furrow their brow and purse their lips to avoid ripping into them about why exactly their thing belongs to them.

8) Lust

They convey it with the intent to follow through, and they throw their all into letting the subject of their affection know. Their chest puffs out, their back straightens to show off height or how slender they are, and they stare at the subject from under heavy lashes. A light blushes dances over their cheeks and the bridge of their nose but they carry on, pointing their knees toward the subject and leaning into their personal space. They bite their lip, and they move to brush a lock of hair behind their ear, like they’re brushing away any nerves to do with the situation. Their lips part so they can breathe easier, and they set their brow in a firm line, the picture of confidence as they place their hand on the subject’s arms.

And that’s it for now! All these emotions have subsections where they can intersect or branch off, so plan your emotions wisely and see where you can align these actions to match multiple emotions!

[mahalii]

a writing guide to rivals (or enemies) to lovers + writing prompts

note: these are more rivals to lovers than anything, but you can use them for enemies to lovers as well. 

oh, you’re walking through this door? let me just ~politely~ slam the door in your face on the way out

i know we’re technically supposed to be fighting each other with swords, but you ended up on the ground and i fell on top of you, and woah… i never noticed how attractive you are until now, so let me just appreciate for a moment – wHY THE HELL DID YOU JUST SHOVE ME 

you’ve got me pinned against the wall and i’m not sure if i want to kiss you, or kill you. probably both 

‘’i know we’re, like… friends now, or whatever, but… i’d still kick your ass.’’ ‘‘like you could ever beat me.’‘ but they do, in fact, beat them.

so you’re just… not going to respect my take on this whole thing and go against everything i just said? that’s fine. i’ll just do the same thing and – oh, you didn’t like that? okay. O K A Y . and obviously, they’re doing it out of spite 

character A says ‘‘i’m going to kill you.’‘ and character B takes a step close, they’re so close now, if character B bends their head, they’d be kissing, and character B’s intensely staring into character A’s eyes, and character A’s like… shit . THIS DID NOT GO AS PLANNED ABORT MISSION ABORT ABORT ABOR —– 

OH NO – my love interest has said that they don’t care if anything happens to me, but now i’m about to die, and they’re risking their own life by running into a burning building to save me!!!!! also, did they just scream my name before bursting into the building??? god why do they sound so,,, worried???? 

okay, so… did we… did we just hug… dude. let, let go of me. let’s just. let’s just pretend this didn’t happen. *cough* i’m going to walk away now. okay. BYE 

‘‘is that a smile?’‘ ‘‘if you tell anyone about this, i swear to god, i’ll kill you.’’ 

so somebody ends up on somebody’s lap and holy shit maybe the tension is… unbearable 

when they share an intimate moment, or maybe even a kiss, and they’re both so confused by it, they completely derail. like, they just… stop working. because what the HELL just happened and then they just stare  at each other and nobody says a word until one of them turns around and SPRINTS out of the room 

‘‘go ahead, do it. if you’re so convinced you’ll kill me, do it.’‘ faster than a bullet, character A grabs a knife, handing it over to character B, who, of course, despite having spent the last couple of months claiming they would kill their love interest, and leave them for dead, can’t bring themselves to grab the knife, and actually do it

you ever just get so annoyed by a person, and what they have to say, that you snatch hold of knife and throw it into the wall behind them with all of your strength yeah me neither but maybe this fictional couple would

using seduction to try and throw each other off balance, usually by taking their clothes off in front of the other person, and it’s working

you just took a friend of mine hostage, and your crew’s been torturing them… i just found out about it, and i’m so disappointed, and there’s tears in my eyes, and the other character’s like, holy hell it fucking hurts seeing you like that… and knowing that my crew did that, that i did that to you… that i’m responsible… 

when character A is really sad, and just… out of nowhere, wraps themselves into character B’s arms and starts crying… and character B’s just like… what the hell…? we hate each other? but ok i’ll let it slide this time

there’s only one bed, but this time they’re arguing over who has to sleep on the floor, in which nobody agrees to do, so they end up in the same bed, incredibly annoyed that they have to share their space (it’s not like friends to lovers, in which they both awkwardly get into bed and laughs it off. this is straight up just. i will set this bed on fire if you don’t stay over on your side)

do these two do anything other than be at each other’s throats. like. can they hold oNE conversation without arguing over something

so you’re just. you’re just going to chain me up against this tree. okay. that’s fine. that’s totally fine. i’m fine. 

when one of them realizes that they’ve gone too far, and they show up at their love interest’s door to apologize, but the following conversation happens; ‘‘why are you here?’‘ ‘‘i’m here because i want to apologize.’‘ ‘‘well, i don’t want you here, so go away.’’ followed by the character getting the door slammed in their face.

THE FIRST KISS – and total denial after it happened, and they’re convincing themselves that there’s nothing going on between them… and they pull away from the kiss, and look at each other, and they’re just like… yeah. just realized i’m head over heels in love with this person but if i speak i will die

when they’re having a moment, and one of the characters says ‘’you hate me.’’ and the other character replies with ‘’maybe i don’t hate you entirely’’

when character A’s crew has taken character B hostage, and character A finds out they’re to be executed, and suddenly it’s this race against the clock to try and save character B’s life, while also trying to not reveal to their crew that they’re head over heels in love with the enemy

it’s not enemies to lovers if the characters hasn’t tried to kill each other at least once, or betrayed each other, or put a friend or a loved one of the other person in danger 

literally, how much do i have to stress this, enemies to lovers, they’ve got to raise hell in each other’s lives, enemies to lovers is not about sitting around a campfire and singing kumbaya, enemies to lovers means i’m covered in blood, and if you’re not careful, it’s soon be yours

and rivals to lovers is, you’re covered in blood, but since you’re here, i’ll help you clean it up, but if you get blood on my carpet, you better run 

IF THERE WAS EVER A TIME TO SLOW BURN, IT’S RIVALS OR TO LOVERS. IT’S ALL!!!!! ABOUT!!!!! THE YEArning!!!!!! THESE ASSHOLES ARE FILLED WITH TOO MUCH PRIDE TO ADMIT THEY’RE IN LOVE WITH EACH OTHER!!!!!!

[mahalii]

New goal: Follow every writeblr in the tumblr universe wahahahahahaha

Seriously, though, if there are any writeblrs left that I’m not following, reblog this so I can further my holy quest.