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Yeah sex is great and all but, have you ever

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im so serious about this but if youre autistic and especially if youre chronically ill creative labour cannot be your only way to relax. working on a creative project is still working. take time to do nothing. its good for you i promise.

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am always obsessed when someone says to a character “call off your dog” about another character.

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''what if my writing isn't good eno--'' what if it's a reflection of your soul. what if it has a place in this world. what if you write it anyway

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Big fan of traumatized characters who also may or may not be autistic it’s kind of ambiguous and hard to separate the emotional dysregulation and poor social skills and speech impediment and restricted interests and routine and food from the nightmare that was their life

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Hiruma in a Danmei AU (danmei is the chinese equivalent of BL) set in ancient China

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WHY YOU SHOULD WRITE HORRIBLY:

1. You’ll never write anything if you don’t

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there’s a reason I always trust fanfic writers to understand and do the characters justice more than I trust canon writers

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WHY YOU SHOULD WRITE HORRIBLY:

1. You’ll never write anything if you don’t

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my secret to art happiness is it's not about how many notes what you draw is likely to get. t's about how many times you're going to go back to it, to your own art, and think "this FUCKS actually and caters to me entirely, specifically, fully. i love this artist (me) (me who i drew this) (myself)"

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Tumblr is good for creative types because the tag system lets you be truly deranged about how much you like it without feeling as Exposed as a Comment Section

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This.

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Reminders for fanfic writers who think it “doesn’t count”

✦ Your writing counts. like, a lot. If someone felt something because of what you wrote, then it matters. That scene you almost didn’t post? Yeah. Believe me, someone out there bookmarked it for a reason.

✦ Writing existing characters doesn’t make it “less than.” You’re building arcs, crafting dialogue, emotion, pacing. You’re studying character psychology like a scientist. That’s not “just fanfic,” that’s storytelling.

✦ “but it’s just fanfic” ...no. STOP, it’s craft. It’s understanding tone. It’s hitting emotional beats. It’s layering theme and backstory and prose into something people feel. You’re doing the work, you just don’t get graded on it. (Which, honestly is a blessing.)

✦ Writing fanfic means you love stories enough to live inside them. You care, deeply. You care enough to reimagine, to explore, to add something of yourself to a world you didn’t create and somehow still make it feel brand new.

✦ Someone out there rereads your fic like it’s their favorite book. Maybe they’ve saved a line to their notes app,or they quote it to a friend. Maybe they just think about it when they’re having a bad day. That little fic you almost deleted, it’s comfort now.

✦ Your comments section is real. Every “I needed this” and “this made me cry in a good way” is proof, you don’t need a book deal to matter. You don’t need a publisher to have an impact, because you already do.

FANFIC IS WRITING! Fanfic is yours.

You’re not “just” anything. You’re a writer, own it. Be proud of that.

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finding out there's a frankenstein ballet and that it was in october of last year…DEVASTATING

look at this. look at these. im foaming at the mouth

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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.