#Excel Free Tools

[itsa-myart]

got a new laptop!!!! finally able to get back to it when it comes to digital art. Decided to bless my first drawing on a new laptop with a messy self portrait sketch.

[volfoss]

Sincerely as a former user of both Excel and sheets, it is nuts how much easier libre office calc is. Not in the typical way that certain things are easier to access but moreso that the formulas and ways things are set up just work with my brain better. I never really had much need to learn formulas in Excel because there were so many and the layout felt over complicated, and don't even get me started on sheets. But with calc, there's a lot more freedom with the formulas and a lot of the skills you have from either of those other programs carries on here. Not a super big point or anything to this post, just simply very appreciative of what calc can do.

[avertigo]

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[popaurmaa]

Popâ Ur Mää Global Consulting Enterprise - Trading View

[dcxdpdabbles]

DCxDP Fanfic Idea: The Contingency plan

Alfred Pennyworth has lived a long life. As a child, he was chosen to train for the Queen's army in exchange for dorms, education, and food. It was a golden ticket to a better life for a young orphan with no connections and no future.

He dug his way out of poverty by gritting his teeth and excelling in whatever task they gave him.

He has seen and done things in the name of his Queen and her country that keep him up at night. When he was free from his services, he started a family with a stranger, then realized he was too weak to raise that family, leaving them and his home country behind.

He found love in a woman promised to another.

He watched her marry a man he loved and hated in equal parts because while he could not have her, he at least lost to one of the kindest, most honorable men he'd ever met.

He raised their son when they were stolen from them too young. Stood by the lad's side as the boy slowly lost himself to his vengeance, edging on the line of madness and wondering if he would one day have to be the one to reunite his love with her son if he ever went over that line.

She would have never forgiven her son for becoming the kind of monster Alfred was raised to hunt. In the darkest, broken part of his heart, he often wondered if he would do it when Bruce wasn't looking—to save him the pain of being killed by the man who raised him as a favor for a lost love.

Alfred could never bring himself to, and when Master Bruce returned from his training, he doubted he could. He was good, but Master Bruce got better. He became dangerous to a near-uncontrollable level.

Alfred watched him set up his tools, prepare for his big reveal, and battle against crime with a passive expression and a hand curved around a hidden gun. He waited a few weeks to make sure Master Bruce wasn't the monster that he so clearly was capable of being.

He never told Master Bruce, never allowed a single hint of doubt to show in his words or actions, but he waited, watched, learned, and searched for an opening.

He was a master spy; an actual spy can wait years before they struck. Alfred had been gathering information since he was seven years old, searching for a way to make the older boys regret every looking in his direction. It became apparent that he would never win if Master Bruce turned his skills on him and went on a murderous spring.

So Alfred contacted the same program that made him a success story. They sent him a child who was more than ready to convince Master Bruce he was nothing more than a poor, unfortunate soul searching for a foster home.

Daniel Fenton. A young boy who appeared in England a few years ago in a swirl of green. He fell from a portal to an unknown world that the English hoarded. He was placed in a deep underground lab, used a lab rat, and slowly trained into a weapon for the crown. He was ready to bring Master Bruce to his knees should the need arise.

Alfred instructed him to only strike if Master Bruce ever stopped being the city's defender. The boy agreed, apparently willing to do anything to get out of the government's hands. Alfred had been counting on that.

He remembers those childhood days. The scars on his body are a gashly reminder of whether he ever dared forget. It helped that Daniel had an American accent- though from where was hard to pinpoint.

It was almost as if the lad was from a state that did not exist—and it was easy to slip him into Gotham's streets, easy to convince him to break into one of Master Bruce's cars to sleep in under the pretense of escaping the cold, and far more straightforward to persuade Master Bruce to offer him a warm bed for the night after his ward found the lad while parking in Wayne Manor's garage.

Alfred Pennyworth has seen many things in his life and has always had a contingency plan. He didn't like using them, but if there was one motto he lived by his entire life, it was this: "A good man can not kill a monster. Only another monster can do so."

It was cruel to place Daniel, who was abused by his countrymen, into this house only to kill the other boy he raised as a son. But it was necessary, as he had long ago accepted.

He just hopes he does not become attached to Daniel. He's seen that look in the younger recruits' eyes before, shining like a soft glint in the far corners of their eyes.

The glint of hope that one day, he would escape. Alfred would hate to have to take out his own contingency plan.

[moonberry69]

Has anyone else discussed this? It’s been swirling around in my brain.

Caleb’s “fall from grace” is actually quite depressing. He went from being a child experiment (assuming for now, though his anecdote confirms it for me) to being a free, super intelligent, uber popular boy that grew into a talented, gold medal winning, rising star pilot. Now, he’s a mid 20s tool for the very same group that experimented on him and the love of his life. He is sacrificing his entire self for the woman he has been in love with since he was a child.

We don’t really know how much of his true self he hid behind a facade growing up but I think it’s ok, for now, to assume he enjoyed life, at least. He socialized a lot, had friends, went to parties, had many hobbies, excelled in school. He did “normal” teen/college kid stuff. Yes, his entire world revolved around MC but he had so much more, also. He loved being a pilot. It was his dream and he busted his ass to make that dream a reality. He seemed to genuinely enjoy some of the people around him (Gideon, Patrick, etc). He had a future to look forward to.

His life took such a huge, dramatic shift for the negative. His life is lonely and his mind is on only one thing: saving MC. He isn’t thinking of himself. It all has to affect him in some way. He has no one left but MC. He has no friends and hasn’t since the explosion. He even has a line in the cafe where he states that in Skyhaven you don’t make new friends, just new recruits. He was a social butterfly type it seems. Now he’s isolated and just has his own thoughts to keep him company. He probably hasn’t truly enjoyed a hobby or even thought about them since he woke up. He suffers from nightmares. He’s experimented on. He’s losing himself and may one day lose his memories to a control chip. He has zero joy in his life other than MC and that relationship is rocky, at best, right now. He’s plagued with insecurities and thoughts of losing her. The fear of losing her is consuming him.

What does it do to someone to go from being surrounded by friends and endless opportunities to being forced to conspire with known enemies and have only one path in front of you (not a pleasant one, either)? It’s not as if he was mentally stable to begin with. His anecdote confirms he wasn’t.

I guess saying that all of this started after the explosion isn’t correct, either. In his myth, when MC is snooping on his computer, she finds that he was involved in special secret training before joining the Fleet.

I wonder if he was aware all along that eventually the nice, comfortable world he had would eventually come to an end or if he allowed himself, even for a bit, to believe that maybe he could just live his life the way he wanted. The comment he makes in his bond story leads me to believe that he knew it would all end eventually, in some way (the comment about the storms MC has to face in the future).

When did the realization that his life was about to drastically change hit him? During the special secret training when he was at the DAA? Did he throw himself fully into “life” because he knew he was on borrowed time so he wanted to squeeze as much out of it as possible? Even if he thought he had somehow skirted being put through hell again, he seemed to know MC wouldn’t be able to do the same. Did he throw himself fully into experiencing everything he could because he knew she had a countdown before hell came down on her and he, of course, wouldn’t let her do that alone so he felt like he was on a timer too? Or was it post explosion? He does make the comment in his main story, when MC is sleeping, that if he had known then what he knows now, would things have been different. So was he blown up, revived, and then forced into the reality of how much danger MC is in and how his life will never be the same going forward, all while throwing himself in enemy line of fire to protect her as much as he can?

Thoughts about him are gut wrenching (ALL of the guys, honestly. My Fishie 😭).

Sorry if this seems rushed. It is! I just had to ramble and get my thoughts out.

[carbt1]

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[jadeshifting]

— A STUDENT’S GUIDE TO HOGWARTS CLASSES

˚　　　　✦　　　.　　. 　 ˚　.　　　　　 . ✦　　　 　˚　　　　 . ★⋆. ࿐࿔

FOR EVERY CLASS . always sit where you can see (or avoid) the professor’s mood swings. bring a spare quill, and for Merlin’s sake, read all instructions on the board

★⋆. ASTRONOMY

DEALING WITH PROFESSOR SINESTRA . she’s chill if you stay quiet. don’t interrupt her passionate stargazing rants, or she’ll assign extra homework on constellations literally no one’s ever heard of

HOMEWORK . star charts and essays on planetary motion. tedious but straightforward—accuracy is everything.

TIPS TO EXCEL . memorize constellations and learn how to cast Lumos just dim enough so that you don’t blind everyone during late-night pitch black lessons

EXTRA CREDIT . spot and track a rare celestial event, like a comet. (bonus points if you can pronounce its Latin name to Sinestra without choking)

AVOID MISHAPS . never mix up Mars and Mercury on your chart—you’ll be doomed in astronomy and divination

★⋆. CARE OF MAGICAL CREATURES

DEALING WITH PROFESSOR HAGRID . show genuine interest in his creatures, even if they look like they could eat you (because they definitely could)

HOMEWORK . research magical creature habits and write about their care. watch out—he loves long essays (he can basically make students write books about his favorite subject for him)

TIPS TO EXCEL . always wear dragonhide gloves and boots that cover your ankles. treat the creatures and Hagrid with respect—he’ll notice

EXTRA CREDIT . help feed or clean up after the creatures during your free periods or after class. it’s messy, but he appreciates it immeasurably

AVOID MISHAPS . never, ever call a Blast-Ended Skrewt “gross” within his earshot

★⋆. CHARMS

DEALING WITH PROFESSOR FLITWICK . he’s sweet but sharp. pay attention, or you’ll be called on mid-yawn to demonstrate something tricky.

HOMEWORK . practice spells at home. if your wandwork looks like you’re conducting a dance recital, you’re doing it wrong.

TIPS TO EXCEL . focus on precise wand movements and pronunciation—no “swish and flick” means no charm

EXTRA CREDIT . perform an original charm in class and explain how you invented it (hint: slap a name on something flashy, and ramble about how Flitwick’s class gave you the “tools to do it”)

AVOID MISHAPS . don’t use charms on your classmates (no matter how obnoxious they are) unless you want detention for “unsanctioned spellcasting”

★⋆. DEFENSE AGAINST THE DARK ARTS

DEALING WITH THE PROFESSOR . varies wildly year to year. if they’re twitchy, don’t ask questions. if they’re confident, challenge them slightly—they love it

HOMEWORK . spell practice, theoretical essays on defensive strategies, and (sometimes) practical exams.

TIPS TO EXCEL . master shield charms early—Protego is your bread and butter. always watch your back in “surprise” practical tests (the surprise could be a curse aimed at your back)

EXTRA CREDIT . propose new defense tactics for obscure threats like Lethifolds or hinkypunks, it shows interest in the less ‘cool’ aspects of the dark arts

AVOID MISHAPS . don’t hex yourself in class while demonstrating a jinx. you won’t get in trouble. but it’s embarrassing.

★⋆. DIVINATION

DEALING WITH PROFESSOR TRELAWNEY . just nod and act fascinated. she’s happier when you look like you believe her

HOMEWORK . dream journals, tea-leaf sketches, and guesses at what the stars are “telling” you.

TIPS TO EXCEL . make up dramatic predictions that sound poetic. extra marks for impending doom towards a classmate

EXTRA CREDIT . spot a “true vision” (or just pretend you did). a fainting act doesn’t hurt

AVOID MISHAPS . never laugh at her predictions, even if they sound ridiculous—she’ll doom you for life (and you never know what fate holds)

★⋆. HERBOLOGY

DEALING WITH PROFESSOR SPROUT . show some love for plants, and she’ll adore you. don’t sass her or underestimate how dangerous some herbs are

HOMEWORK . care guides for magical plants, essays on uses for their parts, and detailed sketches

TIPS TO EXCEL . be gentle with the plants, even the ones with attitudes. also, if you’re prone to daydreaming, please keep a note of which vines bite

EXTRA CREDIT . cultivate a rare magical plant and present its uses in class (good luck)

AVOID MISHAPS . always wear gloves when handling anything spiky, slimy, or screaming

★⋆. HISTORY OF MAGIC

DEALING WITH PROFESSOR BINS . he doesn’t even care if you’re awake, but it helps if you look like you’re taking notes

HOMEWORK . endless essays on goblin rebellions, giant wars, and other events you’ll most definitely forget by next term

TIPS TO EXCEL . use mnemonic devices to remember key dates. start essays early—he grades on length

EXTRA CREDIT . find obscure historical details to add to essays. mentioning “primary sources” makes you look smart, and Binns doesn’t typically look into it further

AVOID MISHAPS . don’t doodle in your notes too obviously—he might drone on even more if he catches you

★⋆. POTIONS

DEALING WITH PROFESSOR SNAPE . know your ingredients and don’t speak unless spoken to. follow his instructions perfectly and try to look invisible. or he’ll eviscerate you

HOMEWORK . brewing practice and essays on potion theory. if you mess up the potion, he’ll expect twice the length in your essay

TIPS TO EXCEL . re-chop your ingredients before class, and try to do other prep work. Snape hates inefficiency

EXTRA CREDIT . create a new potion under his supervision. (warning: he will make you test it.)

AVOID MISHAPS . don’t ever blame Snape or his instructions if something explodes. just accept it and clean up quietly

★⋆. TRANSFIGURATION

DEALING WITH PROFESSOR MCGONAGALL . she’s strict but fair. do your work well, and she’ll respect you; slack off, and she’ll make you wish you hadn’t

HOMEWORK . spell diagrams, written explanations, and frequent wandwork practice

TIPS TO EXCEL . precision and focus are key. get creative, but don’t try anything too wild without permission

EXTRA CREDIT . demonstrate a flawless human-to-animal transfiguration (with her approval)

AVOID MISHAPS . never let your transfigured objects escape—chasing a hopping teacup through the halls is not fun, and you’ll never hear the end of it

★⋆. ARITHMANCY

DEALING WITH PROFESSOR VECTOR . she’s sharp and no-nonsense, but she’s got a soft spot for students who genuinely try. don’t show up without your charts; she’ll notice

HOMEWORK . endless numerical equations and analysis of magical patterns. expect to translate runes into numbers and vice versa

TIPS TO EXCEL . understand how numbers relate to magic—this isn’t just math, it’s magic theory in disguise. double-check your work; one wrong digit can tank your entire assignment

EXTRA CREDIT . present a new numerological correlation, like how the number “7” might affect potion brewing. bonus if it’s creative but realistic

AVOID MISHAPS . never guess at a solution—Professor Vector will spot laziness in seconds. keep your workspace neat, or the equations will haunt you

★⋆. ANCIENT RUNES

DEALING WITH PROFESSOR BABBLING . she’s patient and incredibly smart, but don’t come to class unprepared. misreading a rune will make her launch into a lecture about “respecting the symbols.”

HOMEWORK . translate ancient texts, decipher rune sequences, and write essays on magical etymology. sometimes includes carving your own runes for practice.

TIPS TO EXCEL . memorize the rune meanings and their magical properties—flashcards help. pay attention to detail; even a tiny line can change the meaning of a rune

EXTRA CREDIT . create your own rune sequence that produces a magical effect and explain its purpose. creative runework always gets top marks

AVOID MISHAPS . don’t mix up Nordic and Celtic runes—they have very different contexts, and Professor Babbling will lecture you for days

★⋆. MUGGLE STUDIES

DEALING WITH PROFESSOR BURBAGE . she’s enthusiastic and loves students who ask questions, even obvious ones. if you show respect for Muggle ingenuity, you’re golden

HOMEWORK . research papers on Muggle inventions and their impact, as well as practical exercises like identifying Muggle objects

TIPS TO EXCEL . don’t overthink it—Muggles live without magic, but they’re surprisingly clever. show curiosity and avoid using the word “primitive”

EXTRA CREDIT . present a Muggle artifact and explain how it works. bonus points if you demonstrate something functional, like a can opener or a bicycle pump

AVOID MISHAPS . don’t call electricity “the Muggle version of Lumos” unless you want a 10-minute tangent about how they’re completely different

★⋆. FLYING

DEALING WITH MADAM HOOCH . she’s strict but fair; listen to her instructions, and she’ll let you have some fun. mess around, and you’ll be grounded faster than you can say “Quidditch”

HOMEWORK . practicing broom control outside of class and writing essays about famous flyers or the mechanics of flight

TIPS TO EXCEL . focus on balance and broom grip—this isn’t about speed (yet). always stretch before class; cramps mid-air are embarrassing and painful

EXTRA CREDIT . show off advanced flying techniques, like tight turns or broom dives (but only if you’re really confident). bonus for clean landings

AVOID MISHAPS . never try to show off in front of the first-years—wobbling on a loop-the-loop is not a good look. keep your broom maintained; a splintered handle spells disaster.

[ there you have it—follow this guide, and you’ll not only pass these classes with flying colors, but you might even look like you know what you’re doing while you’re at it, and maybe you’ll avoid getting hexed by Snape. we’ll see ]

˚　　　　✦　　　.　　. 　 ˚　.　　　　　 . ✦　　　 　˚　　　　 . ★⋆. ࿐࿔

[shiftchii]

U.A. High in my DR !

Basics

Students are separated randomly into specific departments and classes sectioned by the letters A-K.

These departments are:

Department of Heroics (A - B): Students in this department learn everything they need to know in order to become excellent heroes in service to the community. They are trained in battle, first aid, rescue, support, and all manners of heroic-related lessons.

Department of General Education C - E): Students who don’t make it to the hero course are included here. This department supports students aiming for college and other pursuits. It’s also possible for students with good grades and exceptional strength and quirk skills to be transferred into the hero course (And either the support or business course mind you). Basically regular HS but they get to say that they went to UA on their resume.

Department of Support (F - H): Students here focus on developing support equipment that helps heroes out on the battlefield. With a workspace stock to the brim with all sorts of special tools and their own studio to build things, this department provides an unmatched creative environment.

Department of General Management (I - K): This department focuses on all aspects of heroic business, from the founding and managing of hero agencies to the promotion of public opinion regarding heroes. They even do hands-on lessons in venture capitalism. They have a lot of free time.

Each class is usually comprised of 21 students. That means that the total student population at UA would be 693.

We stay in the same class with the same teacher for all 3 years.

Since UA is a highly prestigious school, we get a lot of funding and benefits for the dorms and when we go on trips and whatnot. (Food we buy for the dorms is paid for, we get free snacks/concessions in the sports festival, free hero costume updates and renewals)

The school curriculum is way less loaded than here. The school system is much better.

The Hero Teachers are actually good at teaching.

Since U.A. is famous, it has many sponsors with support and hero merch companies, so some hero course students (usually 3rd years) have their own hero merch already. Students are sometimes sponsored and do photoshoots and are invited to red carpet events. (Following the School Festival, Class 1-A gets loads of sponsors and stuff!)

The teachers and students are encouraged to decorate their classes and most of them do so.

U.A. has a popular school website.

Staff and students are recommended to have Twitter to update the public events, the majority of the students obviously don't take this seriously, there's always someone who has beef and makes it public (Monoma) and it always ends up like those MHA Tweets, it’s the funniest thing ever.

Schedule

School is Monday - Friday and starts at 8:25 and finishes at 15:10. Regular classes take place during the first half of school, then the afternoon (for the Dept. of Heroics) you will have hero training. Only Dept. of Heroics students have an additional 7th period.

The teachers move between classes while the students stay in 1 class (besides electives).

Wednesdays are half days and only consist of hero training (so no typical school work), though sometimes it's replaced by FHS. You also don't have to wear your uniform on Wednesdays.

We will always have some kind of free time for school despite our somewhat busy schedules.

Not all school days are the same (emergency drills, other schools coming to train with us, etc.).

Classes

Core Subjects for Dept. of Heroics

Homeroom: Taught by Aizawa. Acts as a study hall. The class reps will often give a small meeting with the class about important events during this period.

Japanese: Taught by Cementoss. Focuses on reading, writing, and literature.

Mathematics: Taught by Ectoplasm. Covers algebra, geometry, and calculus.

English: Taught by Present Mic. Emphasizes reading, writing, and conversation skills.

Home Economics: Taught by Midnight. Cooking and other aspects of household management.

Foundational Hero Studies (FHS): Taught by All Might, Aizawa or Midnight. Hero related studying: hero laws, safety precautions, first aid, jsl, media training, dividing hero and civilian identity etc.

Hero Training: Taught by various teachers, usually Aizawa or All Might, it changes every week and we are informed about the activities during homeroom. For example: Quirkless Combat, Rescue Training, Combat, Quirk Training etc.

Elective Subjects

Thought by various teachers. This is the only class where students move instead of teachers, these are shared, so you could end up with classmates from other classes. Students get to completely choose what electives they have. If they don’t choose, they are placed in extra training or study hall.

Options:

Foreign Languages (e.g., Chinese, Korean)

Journalism

Art Foundations

Photography

Ceramics

Psychology

Choir

Band

Orchestra

Woodshop

Metalshop

Chemistry

Poetry

Cooking

Baking

Biology

Physics

Film Analysis

Computer Programming

Animal Work

Volunteer Work

Theatre

Student Council

Literature Analysis

Forensics

Study Hall

Class 1-A Timetable

Around UA campus

The updated UA security system is really good. The sensors are so good, you don't even need to have your ID out. They can scan it anywhere on your person. If you lost or misplaced your ID, the gates also have facial recognition software, so it's fine. If you're not a student or staff, you NEED a visitor pass or the school will go into lockdown on you.

We can use our school IDs to get snacks and drinks from vending machines around the school hallways. It’s free and they are replenished daily.

UA has a courtyard where we can eat outside. Most of the 2nd and 3rd years get food from places outside of the school campus and eat outside in the courtyard. Because of this, the cafeteria isn't as crowded and when we eat lunch we can sit and enjoy our food comfortably. The cafeteria is also luxurious and looks like a fancy mall café.

The library is huge and has many resources with much to explore. There are many different levels with varying types of quiet floors and study halls. It's also open 24/7 so students who are fighting to finish a project can pull all-nighters.

There’s a little shop that has U.A. and hero merch and school supplies including books for courses. You can also buy the merch on the online website.

UA has extracurricular groups and clubs for those who aren't in the hero course such as other sports and things like cheerleaders, debate, theater, music, cooking, ballet, and much more. I mean, hero course students CAN do those things but they WILL have a hard time doing so all while dealing with said hero responsibilities. As mentioned before, business course students have a lot of free time and general ED students are basically regular HS students who just so happen to be going to UA and for support course students, it really depends on how much work you choose to take on for yourself.

There is a study center where students who need extra help can go. Students with failing grades must go here for a set amount of hours to get the help they need. It’s strictly work, and talking about anything other than school is basically prohibited. It’s usually run by Ectoplasm and his clones or Hound Dog.

Work studies & Internships

All first years do an internship, it’s required. This is usually after the sports festival when students have had a chance to show off their skills.

Work studies are basically experience-oriented off-study programs that allow students in the hero course who have Provisional Licenses to work with pros at their agencies. Students will be able to use their quirks under the guidance of a pro, and can even be dispatched to fight villains and help out in disaster areas. If you do well, you can be scouted to become the hero’s sidekick.

Work studies are a more serious version of internships. They entail helping pro heroes on the streets and with investigations. They are usually reserved for 2nd and 3rd-year students, who usually have their licenses. 1st years didn't do them in the past. However, with the rise of villain activity, the school decided to open up work studies to 1st years as well, albeit a very small and select few of them. If they didn't find a good agency with a proven track record they wouldn't do it at all.

Events

U.A. has seasonal dances and a lot of events, like Halloween, Hero Day and other festivals.

Uniforms

Color palette

The uniforms the students receive consist of 4 sets of each clothing (besides the coat and varsity jacket):

Shirts

Long sleeve

Short sleeved

Sleeveless

Blazer

Long sleeves

Sleeveless

Cardigans

Sleeveless (two color variations)

Long sleeved (two color variations)

Sweaters

Sleeveless (two color variations)

Long sleeved (two color variations)

Pants

Shorts

Below The Knee

Classic

Skirts

Mini

Below The Knee

Maxi

Ties

Necktie

Bow Tie

Socks

Quarter

Crew

Knee High

Thigh High

Tights

Shoes

Coat

Varsity Jacket

Gym Clothing

Tank top

Loose Zip-up Sweatshirt (long sleeves, short sleeves, sleeveless)

Cropped Zip-up Sweatshirt (long sleeves, short sleeves, sleeveless)

Shorts

Below Knee Shorts

Sweatpants

Swimwear

Sleeveless, Short sleeved and Long sleeved

Lanyards

Uniforms aren’t required on Wednesdays

Students are allowed to accessorize their uniforms however they want and wear their own jackets

Piercings, colored hair, nails, makeup etc. are allowed

The uniforms aren’t gendered - all students receive all versions and are allowed to wear whichever one they prefer

For students with mutant type Quirks, custom made uniforms are made

Button and sleeve/lapel stripe differences between the department uniforms [1-General education, 2-Hero, 3-Support, 4-Management].

School Bag

Along with the Uniforms the school hands out bags. You can return them and use your own if you’d like.

A standard deep blue nylon matching the uniforms. The U.A. logo sits at the right bottom corner.

Class

If you’re standing at the front of the classroom looking out at the desks, the seating arrangement starts at the leftmost side of the room (“A” names), going front to back and then going to the next row to the right, and so on.  keep in mind that the alphabetical order here is based on the Japanese alphabet. My number is 10.

Here's how I laid out the desks for 21 students:

Since we stay in the same classrooms for most of the days we can leave out stuff at our desks. They have shelves underneath with 2 outlets and lots of space.

Class 1-A Friend Groups

Everyone is actually really close, but those are what groups spend the most time together. Of course we hang out in different groups or all together too.

We have frequent movie and game nights, 1-A has a group chat and it’s always active, there’s always someone wanting to do something. Sometimes we invite people from other classes.

DekuSquad

Izuku

Ochako

Tenya

Tsuyu

Shouto

Haruka

Hitoshi (after he joins our class)

BakuSquad

Katsuki

Eijirou

Mina

Denki

Minoru

Hanta

TokoSquad

Fumikage

Mashirao

Mezou

Tooru

MomoSquad

Momo

Kyoka

Yuga

Kouji

Rikido

I hope this was helpful! <3

© credits: seating arrangement • basics @/Priicklleshifts on TikTok • uniforms • dividers

[coinbasetradingguide]

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[topazadine]

Writing Post Masterlist

All my posts about writing - plus some I absolutely loved by other writers.

Masterlists by Other People (all good)

"Writing Tips Masterpost" by @deception-united - Deception-United has an incredibly wealth of resources available, far more comprehensive and detailed than mine. Go check it out!

"WQA Post Master Lists" by @writingquestionsanswered - Another fantastic and wonderfully comprehensive resource that covers damn near everything you need to know about writing. Genuinely one of the best free resources on writing that you could find on the internet.

General Advice for a Happy Writing Life

"The Myth of the Martyr Artist" - An incredibly important post, perhaps my most important one ever, that discusses why mental illness is a burden, not a benefit. I have no idea why this even needs to be said, but it does, apparently.

"Building Self-Esteem as a Writer" - Why you gotta be nice to yourself. You gotta.

"Identifying bad writing advice" - Warning signs that the post you are reading kinda sucks and you should click off.

"Advice to Beginner Writers: The Good, the Bad, and the Unpleasant" - How long it takes to become a good writer, what to focus on when learning, and why fanfic is such a useful tool.

"Mindset Shifts: Fanfiction -> Original Fiction" - What fanfic writers should know about deciding to take on original characters and stories.

"Defeating Protracted Writer's Block" - What to do when you find it impossible to write for days, weeks, or months at a time.

"Five Common Anxieties of Newbie Writers, Demystified" - Explorations of five mindsets that can set younger writers back as they learn their craft, including overcompetitiveness, overdescribing, and fearing they're "too old."

"Good Motivations for Continuing to Write" - Why it is crucial to have a passion for writing beyond fame and fortune.

"Extremely controversial writing opinions that will make you mad (but I'm going to say them anyway)" - Things you really don't want to hear, but need to be said. A bit of tough love, including the insignificance of ideas, the cold hard truth about how non-writers react to your writing, and the essentiality of having a well-rounded life.

"Why Mindfulness Is a Key Practice for Writers" - On the need to slow down and let our brain rest - plus some options that are categorically not sitting there in dead silence (boring).

"Writing When Happy" - Wherein I hijack someone's question to discuss the Myth of the Martyr Artist, why we might self-limit because of it, and how to do the impossible: write when we're happy.

"The Neurodivergent Writer’s Guide to Fun and Productivity" by @bookishdiplodocus - Excellent advice on how enjoying the process and reminding yourself that writing is supposed to be fun can help you stay motivated and productive, even when your brain is not cooperating.

"The Glorification of Self-Deprecation in Art/Writing Spaces" by @nicolkoutoulakiauthor - I've discussed before how crucial it is to have a healthy self-esteem when writing, but Nicol does it even better here. Nicol also includes some excellent reframing tactics so you can stay motivated.

Generalish Writing Advice (multifactorial)

"Signs That You Will Probably Finish Your Writing Project" - An analysis of the mindset that leads to results, and encouragement on how to develop them.

"'How Do I Start Writing?'" (Or; A Psychoanalysis of Newbie Writer Fears) - Inspired by the dozens of Reddit posts that ask this exact same thing, often with useless responses. So why do people ask this? I offer my theory.

"I Can Think of Ideas But Can't Write Them!" - A consideration of the many reasons you might find it difficult to get started on your precious idea-baby.

"How to elevate your writing style with 6 simple hacks" - Information about how to develop a prettier prose style, catch errors, develop good dialogue, and focus on brevity.

"How to improve your writing style : a 5-steps guide" by @writer-logbook - Especially great information on why reading widely is so helpful for your craft!

"Some Writing Advice" by @whispers-whump - Especially great discussion of why you shouldn't write what you mean.

"Practical Writing Advice Part 2" by @so-many-ocs - Does what it says on the tin. Simple, easy-to-follow advice that can break you out of writer's block.

"25 Prose Tips for Writers" by @thewriteadviceforwriters - I absolutely love the emphasis on sound and harmony here. As someone whose entire book series revolves around the magic of poetry, of course I think this is incredibly important advice!

"Pacing and Show Don't Tell" by @mylordshesacactus - Two for one deal! First, learn more about why pacing is important; then, look at some examples of the classic advice "show, don't tell." The post does a great job on breaking down what show don't tell actually means and what is not a violation of this guideline so that newer writers aren't confused.

Writing tools

"How to Build a Sustainable Writing Habit Through SCIENCE (Fuck Off, NaNoWriMo)" - Why NaNoWriMo doesn't actually motivate young writers and how to do better through a spreadsheet (yes, really, a spreadsheet). It also explains the importance of intrinsic motivation!

"'I've Outlined Too Much and Now I Can't Write!' (Or: the Double Outline Method for Overanxious Plotters)" - Some of us tend to go absolutely ham on our outlines, to the point where they're practically their own books. But then we also tend to not actually do the writing attached to said outline. Does this mean outlining is useless? Of course not. My method lets you have your outline and eat it too. (.... Wait.)

"'How Do I Make Myself Start Writing?' (Tips to Get the Damn Thing Done) - In this post, I provide a step-by-step guide to start writing, including a few tools to help improve motivation and concentration.

"How to Write Faster (And, Hopefully, Better Too)" - Eliminating distractions and forcing your brain to write is key to getting more done. Here, I explain how you might be limiting yourself by too much thinking and not enough doing.

Worldbuilding

"Stop Making Everything So Damn Complicated!" - Why fantasy (and scifi) does not need to be dizzyingly intricate to be enjoyable.

"How to Kick Ass at Worldbuilding" - I offer some suggestions on how to create a grounded and interesting world that will not bore your readers, based on real life examples.

"Grounded vs. Airy Fantasy" by @aethersea - Excellent breakdown of different levels of groundedness in fantasy and why it's important to understand your own approach.

"Fantasy Guide to Building a Culture" by @inky-duchess - Thorough and methodical analysis of what can create a compelling fantasy culture, including those things that many fail to think about when writing.

"Writing tip - Research" by @pygmi-cygni - Fantastic assessment of the importance of research, including for fantasy stories. As Pygmi-Cygni said, a lot of people claim that they don't need to do any research for fantasy novels, which isn't true! Any parallels to IRL need to be realistic, or you will lose credibility.

Plotting

"How to Use Chomolungma for Writing Adventure Stories; Or, the Plot Mountain Method" - If you're sick of saving felines who should really figure their own shit out, it's time to head to Plot Mountain. In this post, I offer you an alternative to the formulaic "Save the Cat" and "Hero's Journey" which also incorporates tension, characterization, and forward momentum.

"Avoiding Melodrama In Your Writing" - The most annoying all things: melodrama. My least favorite thing. Do not do it. I will show you how.

"How to Find a Plot When All You Have is Characters and Setting" by @rheas-chaos-motivation - This is a common problem for many writers, when you have cool characters or an intriguing setting. This short post can help you kickstart your ideas for how to create an intriguing plot that has built-in tension.

Description

"Remembering Perspective When Writing Descriptions" - Key factors to think about when describing other characters or settings from your POV.

"Description, Momentum, and Tension; Or, How Not to Bore a Reader" - Why, when, and where to put description so that people don't skip over it. Hopefully.

"Writing Notes: Seasons" - Each season has both benefits and downsides. In this post, we look at the negatives and positive aspects of each so you can decide how a particular season may strengthen your themes - plus some descriptions to help inspire you.

"Writing Advice: Spicy Mundanity" - Wherein I explain how to stop having boring descriptions by packing in characterization.

"How to Write Smut?" by @unfriendlywriter - Wonderful examples of how to write heartstopping smut.

"How to pull off descriptions" by @fictionstudent - Fictionstudent has a ton of great posts, both about film analysis and about the art of writing. I especially liked this one because it discusses how important perspective is for descriptions and the importance of filling in the details as a character would rather than just throwing it all at the reader at one time.

"How to avoid White Room Syndrome" by @writerthreads - Fantastic and focused advice on how to ensure you're offering readers just enough setting to help them envision the world.

Characterization

"Writing Relatable Characters; Or, Using Human Failures to Your Advantage" - Explaining how you can use character flaws and human needs to create a relatable character. Also explains the basic development of a plot, which is about equilibrium.

"How NOT to Write a Character" - Wherein I give you some examples of annoying characters we want to punt off a cliff so you can watch yourself.

"Writing Strong Female Characters" - Why you should give your female characters a secret goal, as well as how to avoid common 'strong female' stereotypes.

"Writing Compelling Trauma in Fiction: Dos and Don'ts" - How to avoid melodrama and create intriguing emotional wounds for characters.

"Quality Assurance Checks for Character Development" - Thought exercises that can help you differentiate characters, prune down unnecessary characters, develop true chemistry between LI and MC, and avoid having too many POVs.

"Developing Character Agency (Or; Cutting the Plot Strings)" - A discussion of character agency and how to ensure your characters are not bound by the narrative.

"Writing Notes: Thought Distortions" by @literaryvein-reblogs - Some psychological concepts you can use in your writing to add depth to characters.

"Questions about your character’s perspective on love and relationships" by @luna-azzurra - Excellent questions that can help you delve into your character's attachment style, what baggage they may bring to a current relationship, and how to create conflict through mentality.

"How to Write a Confession of Love," also by luna-azzurra - Perfect discussion of how to create tension, the utility of setting, not making it perfect, and including the other character's response.

Revisions

"Common Writing Issues that Reduce Readability" - Examples of fixes for four common issues: double describing, long sentences, overexplaining, and head hopping.

"How to Avoid Purple Prose" - A critical part of the revision process is making sure your writing is clear and balanced. In this post, I show a blatant example of purple prose and provide suggestions on how to make a more elegant passage.

"Differential Diagnosis When Your Writing Is Getting Worse" by @ariaste - Fantastic explanation by a professional writer about why you might feel like your writing is getting worse and what to do about it.

"How to Make Your Writing Less Stiff Part 3" by @physalian - Physalian's whole blog has some excellent advice, so definitely give it a look!

"How to Improve Your Writing" - Also by literaryvein-reblogs, this offers some excellent exercises to help with sentence-level issues, such as modifiers, parallelism, and details.

Publishing

"How to promote your book online : a discussion about social media (and few tips)" by writer-logbook - Great tips about how to get more interest in your book. I especially enjoyed the emphasis on patience and consistency. Writer-logbook has some excellent info overall about the nitty-gritty of writing, so I definitely recommend poring through their blog in general. (That's why they're included here twice!)

"A masterclass in how not to market your books, in one singular tweet" - Wherein I help you derive lessons from an abysmal tweet by an author.

"Mistakes I Made When Self-Pubbing My First Book (Part 1: Mindset Edition)" - I talk about how being delulu is not the solulu, that yes marketing is important (even if it is horrible), and how a bit of self-confidence can go a long way.

"Mistakes I Made When Self-Pubbing My First Book (Part 2: Presentation Edition)" - Graphics and covers and blurbs! Learn about them. Do not do what I did.

"Mistakes I Made When Self-Pubbing My First Book (Part 3: Ads and Reviews Edition)" - Why you have to get reviews. You gotta. And you gotta demand them. Shake those reviews out of your readers. You'll thank me later.

Specific Research Advice

"Assassination Methods Through the Decades: A Writer’s Handbook" by @hayatheauthor - A thorough review of different assassination methods, including a section discussing common assassination methods by region!

"How to Write Someone in a Wheelchair" - A group effort! This is a reblog chain discussing body language in manual wheelchairs, the mechanics of power wheelchairs, wheelchair propulsion methods, and a reminder that just because someone is in a wheelchair doesn't mean they can't walk short distances.

"Writing Research Notes: Caves" - Oh caves how I love them. Caves. Let me tell you about them if you want to write about caves. Blessed.

"Writing Research Notes: Horses" - A beginner's guide to horse mindsets, whether horses like working, approaching horses, how to ride, and tips on training.

"Writing Research Notes: Bipolar Disorder" - Written by me, a writer with bipolar disorder! This shares basic facts about bipolar, offers a list of symptoms you can use, and cautions you against spreading misinformation through poor characterization or myths.

"Writing Research Notes: Politics" - I provide a quick overview about governments and international relations, based off my suffering while getting an MA in International Relations.

"Stop Doing This in Injury Fics!" by @pygmi-says-hi - Discusses some common errors when writing whump/angst. The fever part was especially helpful for me!

"Writing US Military Characters" by @lookbluesoup - An explanation of the habits and mentality of US military characters. Many of these were quite helpful for my fantasy military characters, so you can get a lot of mileage out of these for soldiers in other militaries too!

Little Funsies

"What Painting Style Is Your Writing?" - A short exploration of different writing styles to help you better understand your own approach.

I'll be adding onto this as I continue to scroll through my old likes and, of course, as I find more resources.

[legendaryvermin]

So my home ttrpg group is between longform games right now, and I have been planning to bring a bunch of games to them this weekend as options for what we might play next. However, I have been trying to figure out how to talk about the games in a way that doesn't rely as much on me explaining the vibes to them.

I know that people have a bunch of qualitative categories for how they explain games, but I find the idea of saying things like Dark Fantasy OSR, or Lesbian Goofball PBTA less helpful when talking about how games actually play, especially when two games in the same category are like, wildly different in the way they use their frameworks.

So I invented a 6 axis, 1 to 5 star rating scale for TTRPGs that you are free to borrow when talking to groups, or whatever.

TTRPG 5 Star Rating Matrix

Width

What is the scope of this game? Is it narrowly about one thing or does it encompass many types of play? (Credit to friend of the blog @ostermad-blog for this one, they came up with it from my draft)

Weight

How much cognitive load does the player need to bear? Do rules often need to be referenced verbatim? Can those rules fit on a handout?

Wargame

Is the player expected to apply tactical acumen? Is movement tracked tightly or loosely? Does a bad build punish a player?

Writers Room

How much are players expected to make narrative choices and drive the story without the rules scaffolding them? Does this game fall apart without excellent improvisational storytellers?

(Prep)Work

Does this game require a lot of pre-planning by the facilitator? Are there intricate systems to attend to outside of table play? Can I put in the same amount of time as other players and still have everyone leave happy? 

Whimsy

Expected tone of the game. Does this game have difficult thematic elements baked in? Is the core subject or role in the game high or low risk?

Here are some games I know well and how I calibrated them:

I have breakdowns of what each star rating means below the cut if you're curious. Happy Gaming!

Width

⭐ - As written, the game has basically one mode of play, or one thematic core that it meditates on. May have phases, but textural difference is minimal.

⭐⭐ - As written, there are at least two modes of play, but the scope of that play is highly thematically focused or highly dependent on using the game’s own lore. Might have only one kind of character (e.g. Mech Pilot) that it supports. Has limited tools outside of the primary mode of play.

⭐⭐⭐ - Has a variety of modes of play, but may be rigid in their execution. Might encompass multiple kinds of characters (e.g. Doctor, Lawyer, fighter) or character options. The narratives that this game tells within its setting are narrowed, a three word description tells you what kind of stories it can tell with consistency.

⭐⭐⭐⭐ - Loose framework, but with some kind of thematic grounding. Describing the framework in 3 words doesn’t tell you the kind of stories that the game tells (e.g. Dark Fantasy, Star Wars Romp). 

⭐⭐⭐⭐⭐- As written, this game is designed in such a way that it doesn’t put specific limits on what sorts of stories that it is meant to tell. It might ask players to define abilities or stats for themselves. The Facilitator is going to pitch a thematic grounding on top of the rules set.

One Star Examples: For the Queen, Dialect, Honey Heist Five Star Examples: Fate Core, Savage Worlds, GURPS

Weight

⭐ - It is reasonable for a player to be able to recite the rules from memory. The game may be prompt based, or driven by a flow of rules that are read aloud as played.

⭐⭐ - Players can hold most of the most important information about the game in their heads, with a page or less of rules reference needed to play smoothly. This reference could all fit neatly on the character sheet if one is present.

⭐⭐⭐ - Everything a player needs to know about the game is visible on less than 3 sheets of reference. Players are more or less expected to know exactly how their own abilities work in precise detail, and are unlikely to make a mistake in executing them.

⭐⭐⭐⭐ - Players make extensive use of multiple reference sheets to keep rules moving smoothly. No external tools are needed, but players memorizing the details of all of their abilities is taxing. 

⭐⭐⭐⭐⭐- Players and facilitators will prefer to make extensive use of external tools or reference to keep play moving smoothly. Expecting a player to have the exact details of their abilities memorized is not reasonable.

One Star Examples: For the Queen, Stewpot, Mobile Frame Zero: Firebrands Five Star Examples: Dungeons and Dragons 3-5e, Lancer, Edge of the Empire

Wargame

⭐ - As written, this game does not treat combat as mechanically different from any other aspect of play, or does not include narrative violence at all.

⭐⭐ - While players may engage in combat, it is minimally different from regular play. There may be tools or abilities for players to use to conduct a fight, but the texture of those fights is thematic, not mechanical. Narrative and consequence drive the action, not hit points.

⭐⭐⭐ - As written, combat has its own set of rules. This game may have some elements of buildcrafting, but either it is difficult to build something that doesn’t work, or the player may meaningfully invest in other modes of play and still find a commensurate level of satisfaction. If combat occurs, spacing is kept in mind, but is tracked in relative terms (range bands) or highly simplified (zone based combat).

⭐⭐⭐⭐ - This game has buildcrafting that is somewhat mandatory if players wish to survive a fight, but there is still a meaningful choice in choosing a non-combat role. It may use a grid or a spacing system to help players visualize the combat. Fights are driven by mechanics, not by narrative.

⭐⭐⭐⭐⭐- To enjoy this game, players must spend time buildcrafting. If a player’s build is suboptimal, there may be significant parts of the intended experience that will either feel tedious, or that the player will not have meaningful access to. This game is played on a grid.

One Star Examples: Wanderhome, Dialect, Belonging Outside Belonging Five Star Examples: Lancer, Dungeons and Dragons 3-5e, Valor

Writers Room

⭐ - Players in this game are not expected to provide much in the way of narrative substance. Story is something that is driven by external input or tools, and players are there to imagine and react. The player need not separate the self from the character they play in any meaningful way.

⭐⭐ - The mechanics of this game drive most of the narrative, or else the narrative is set for the players by an external source or player. Players are encouraged to play optimally rather than dramatically, but do have room for expressing the identity of their character within the game’s mechanical frameworks.

⭐⭐⭐ - While the game does provide strong scaffolding to tell a story, the players present are expected to drive the story within those frameworks. The game’s systems create and resolve conflict on their own, but works best when the players are willing to choose the dramatically interesting option even if it mechanically non-optimal.

⭐⭐⭐⭐ - The game provides some mechanical tools that create and resolve drama, but there is a significant expectation that the players are buying into and driving the game’s thematic concepts. Players are the ones deciding what the scenes should be and when to end them, but mechanics still help determine outcomes.

⭐⭐⭐⭐⭐- The players are expected to drive the narrative at all times. Tools for deciding what scenes to do and when to end them are limited, optional, or vague. There is no meaningful scaffolding that creates conflict or resolution, it is incumbent on those present to manifest those things.

One Star Examples: Alice is Missing, Ribbon Drive, For the Queen Five Star Examples: Wanderhome, Systemless RP

(Prep)Work

⭐ - Facilitators are not expected to do work outside the time at the table. All rules can be read while the game is played. No memorization is needed.

⭐⭐ - This game expects the facilitator to have read the rules in advance, but the rules are so few that they can be run from a single reference sheet. At times, the facilitator must think about and potentially advance and adjust the narrative of the game behind the scenes. Prep is qualitative; answering questions about where the narrative is going to go, who will be there etc. The game can be run smoothly predominantly as improv.

⭐⭐⭐ - This game expects the facilitator to not only know the rules, but to imagine scenarios where the group must play. However, the scope of the scenario design is limited and qualitative. It takes a bit of pondering and perhaps a sketch and a few words of notes. Alternatively, the facilitator must design simple foes or track a simple background system. The work is trivial, and can be done with a bit of time before session.

⭐⭐⭐⭐ - The facilitator of this game is expected to have run systems between games, or created usable maps or scenarios. Generally, games at this level have some reduced wargaming component. The facilitator might need to engage in enemy design, but the work is limited or imminently reusable. The work is non-trivial, and failing to do it will somewhat impact the quality of play.

⭐⭐⭐⭐⭐- The facilitator of this game puts in significant time between sessions engaging in game design activities. They are expected to plan narratives, write NPCs, draw maps, run significant background systems, and design enemies and combat encounters. The work is significant outside of play, and failing to do it beforehand will result in a worse table experience.

One Star Examples: For the Queen, Alley-Oop, Lasers and Feelings Five Star Examples: Lancer, D&D 3-5e, Stars Without Number, Edge of the Empire

Whimsy

⭐ - This game’s thematic core is considered dark, taboo, or difficult, and separating the game’s mechanical features from this subject matter is next to impossible. Games with horror elements almost certainly fit within this category. These games encourage extensive pre-play safety talks.

⭐⭐ - This game is designed to look at dark subject matter, but doesn’t expect the player to spend all of their time there. Players explore difficult topics, but may get to choose what topics to explore, or when to explore them. Games with political messaging/commentary tend to fit this category. These games encourage pre-play safety talks.

⭐⭐⭐ - This game may have dark aesthetics, but doesn’t enforce them mechanically. Alternatively, there are mechanics that address difficult topics in broad strokes, but players are given leeway in the rules with how any difficult topics are approached. These games may encourage safety talks. 

⭐⭐⭐⭐ - This game may have the option to explore dark topics, but none of the mechanics are tied to such topics. This game may have violence in its aesthetics, but players may choose to adjust the aesthetics at the table to suit their comfort. These games tend not to talk about safety in their text.

⭐⭐⭐⭐⭐- This game is designed to focus on thematic material that is considered to be relatively safe. The game is unlikely to tread into violence or trauma without effort.

One Star Examples: Trophy Dark, Dungeon Bitches, Vampire the Masquerade Five Star Examples: Honey Heist, Princess World, Beach Episode

The system here isn't about what's good or bad, to be clear. I think there are good and bad games at every level of these categories, but when I think about what my game group is good at and comfy with, I don't think we go in for things at like the 5 end of the Writers Room scale. It's too much work, and most of them aren't pro improvisers.

Similarly, if we play another game that is a 4 or 5 on the PrepWork category, I don't have time to run it these days. So this helps me make practical choices about our next game.

[fatliberation]

Sorry for leaving this in your inbox, but I need to vent and ask for advice in a place where people won't mock me. What do you do when sex is super difficult because of your fat? I've recently gotten into my first relationship and. I thought I had a handle on my internalized fatphobia and self hate but this has made it worse than ever. We can't have satisfying penetrative sex (we've tried all the tips and workarounds. Nothing works. I'm larger than most of the FA community.), and recieving oral sex is also difficult for me. I also get tired and sweaty extremely quickly if I have to like hold up myself on mostly my arms or something, so he has to do most of the work. So sex is just. Mostly the one that works on repeat, and we don't have it very often because it isn't that fun for either of us, and it also makes me cry afterwards sometimes because of how disappointing it is & me beating myself up over it.

I'm genuinely worried my boyfriend is going to leave me for this. He's clearly very frustrated with the situation, even though he tries to be nice about it most of the time. Earlier today I tried to like be flirty and hint at stuff and he just. got a bit sad. and then said that clearly neither of us enjoy the sex we're having and that he has a lot of trouble staying hard.and that he doesn't see the point when we're both forcing it for no reason. I think he's going to break up with me soon. His ex is way lighter than me, so he's probably comparing the normal sex he had with her with whatever the fuck this abnormal shitshow is :/

All the work I've done on myself to be happy with being fat (including working up the courage to date, what a mistake that was lmao) is all gone. This has ruined my self-esteem so much. I feel like one of those fatphobic jokes but a person.

first and foremost, please try your best to remember this: your body is not the problem. one more time. your body is not the problem. I'm so very sorry you're concerned that your boyfriend would leave you over this. it sounds like he has a lot of preconceived ideas about how sex is supposed to go. I promise you that it doesn't have to be this way. if this is something that could really end the relationship, know that this person is not compatible or open to exploring your needs, rather than your needs being "too difficult." I promise it's him, not you. I know folks who are 600+ pounds who have excellent sex lives and partners who satisfy them and enjoy satisfying them. when someone starts treating your pleasure like a chore, that's just shitty. I know how much it hurts. it also does damage to your own openness to pleasure. when you're caught up in feeling like sex/your body is something that needs to be "fixed," nothing is going to feel sexy, because all that pressure puts stress on and takes you out of the mental state where you're able to experience pleasure. does that make sense? so many couples get stuck in this cycle.

there are so many ways to engage in pleasure without penetration or orgasm. there's a lot that goes into foreplay, setting a mood, making your partner feel appreciated and attractive. words and touch play a huge part in this. something as simple as exploring each other's bodies, not with the intention of reaching climax, but simply to be vulnerable and engage each others' senses. have your partner give you a massage. play with your hair. tickle your back with a feather. shower together. kiss you. compliment you. if either of you are into any kinks or dirty talk, that could be a great way to engage each other sexually without the pressure of "achieving" a goal. the goal here is just to feel good, close, and connected. societal messaging about sex has placed so much importance on orgasm instead of pleasure - when taking the time and space to relax and receive attention, is key.

feel free to check out my other posts on fat sex ed, there's lots of assistive toys that can make pleasure more accessible, but I think that should be a tool for later, since the biggest issue here is the pressure to perform. know that pleasurable sex can exist for you! but for now, I would recommend taking a break from sex altogether since it is not pleasurable for you right now. because pleasure is the whole point. forcing it is only going to feel worse. you do not owe it to your boyfriend, especially if it doesn't feel good and is taking an emotional toll. I hope you both are able to take a step back, reassess and communicate, and are able to reconnect and create a safe space to explore.

I understand why you're beating yourself up over this, I've been there too. but also know that it's just another societal standard that's been internalized (and it doesn't sound like your boyfriend is helping). like you said, you've done a lot to unlearn fatphobia. there's a lot of internalized beliefs we absorb from society surrounding sex, just like body image. I promise that there is nothing wrong with you. If your boyfriend takes his frustration out on you instead of making you feel safe to express your needs, then he's not a supportive partner. you deserve someone who takes delight in your pleasure and your body. believe me, we're out there.

[solarpunks]

Preliminary planning started back in 2011, and in 2020, the reservoir action management plan, a detailed 260-page document was published by the Klamath River Renewal Corporation – the non-profit entity formed to manage the entire dam removal project. ''The document gave us our targets, and has kept us on track," says Joshua Chenoweth, senior ripariani ecologist for the tribe who was hired to manage the revegetation project. Between 2018 and 2021 seed collection crews – many of whom are tribal elders – were hired to harvest native seeds, by hand, in preparation for the dam removal. They collected 98 species and around 2,000lbs (900kg) of seeds. The seeds were then dispatched to specialised nurseries, which propagated them en masse, and sent the seedlings to storage facilities where they were kept until the time came for them to be planted.

When it came to planting the seeds, Chenoweth has used a variety of methods, including seeding by helicopter alongside the old-fashioned way, by hand. Beginning straight after the first draining in late 2023, the team hand-sowed 500 acres of land, including 25,000 acorns. "It really is the most effective restoration tool. And the only reason we used a helicopter was when muddy conditions made it too dangerous for us to walk on the land." The results were "excellent", Chenoweth says. "Despite a hot and dry summer, where we've seeded is green, we're seeing flowering plants teeming with life. I counted eight different butterflies in the areas we hand-seeded. There's moths, hoverflies, bees, birds. It's been a really exciting first year." The team will continue to seed and plant the area for another two years, prioritising the tributaries important for salmon habitat. "The first year has definitely given me a lot of hope," Chenoweth, "but it'll probably get more challenging from here. Now we're completely at the mercy of Mother Nature."

[poemsfor-her]

STUDY TECHNIQUES FOR YOU ✧ ⋆ . ˚

I. PARKINSON'S LAW

— Parkinson's Law states that work expands to fill the time available for it's completion. In a study context, this principle suggests that setting deadlines and time constraints can help you stay focused and complete tasks efficiently.

II. FEYNMAN TECHNIQUE

— Named after physicist Richard Feyman, this technique involves simplyfying and explaining complex topics as if you were teaching them to someone else. This process helps you identify gaps in your understanding and reinforces your knowledge.

III. BLURTING

— Blurting, or active recall, is a studying techinque where you try to remember key concepts or facts without looking at your notes or textbooks. This helps strengthen your memory and retrieval skills.

IV. ENERGY CYCLES

— Energy cycles refer to understanding your own energy levels and working in alignment with your natural rhytms. Some people are more productive in the morning, while others excel in the evening. By scheduling tasks accordingly, you can optimize your productivity and focus.

V. SECOND BRAIN

— The concept of a "second brain" often refers to using external tools like note-taking apps or digital resources to store and organize information. This frees up your mental capacity and enhaces your ability recall and apply knowledge.

VI. SPACED REPETITION

— Spaced repatition is a learning method that involves reviewing information at increasing intervals over time. It's designed to help you remember and retain information more effectively by revising it just before you're likely to forget it.

i looooove the feynman technique soo much! it makes learning fun :)

with love, t

[seat-safety-switch]

I haven't fucked up this bad since the time I brought a package of Jiffy Pop to the veteran's hospital. Lots of people were screaming at me, both then and now.

For the longest time, my town had a coal mine. Shortly before my birth, they decided to close it. Coal was the fuel of the past, the town fathers said. Well, they didn't count on a TikTok trend (possibly sponsored by the coal industry) telling kids to burn it for clout. Suddenly, there were teenagers trying to break into the disused coal mine for more than just Halloween dares and pseudo-spooky makeout sessions.

Something had to be done about this. A security guard had to be hired. And, in flagrant disregard for free-trade agreements, they hired someone local. Me, specifically. It turns out that I am the only person left in town who is not working two or three jobs, and therefore perfect for the gig of night watchman at the coal mine. It also helped that my release conditions mandated I maintain employment, and my parole officer was starting to get suspicious that the screenshot of Microsoft Excel I taped onto my bedroom window did not actually constitute gainful "remote work." Bigot.

Now, you know me. You've gotten to appreciate, or at least tolerate, my whole "thing." I knew that I could work hard for maybe thirty minutes tops before I would, too, be descending inside that coal mine. Putatively, it would be to search for wayward kids (or the skeletons thereof) but in reality we both know that I'd be looking for an internal combustion engine to monkey with. Not like I didn't warn the town: I told them that they needed to get me a cool kei truck or something to patrol the mine with, but they were just like "bluh bluh it only has one entrance bluh bluh our road budget is already too high" and then they kicked me out of the Mayor's car.

I certainly did not have to look very far for one. The miners left a pretty rickety-looking mine cart right there at the opening. I could fuck with a train to pass the time, I thought. If any kids come, they'll be too scared by all the cursing and tool-dropping to break in here for French kissing. Or even Danish kissing, if they're freaks.

Anyway, it turns out that the mine shaft also had a bunch of tanks of pure acetylene lying around, and the little diesel engine pulling the mine train really liked that. Up until the pistons turned into incandescent bulbs somewhere along the highway into town. I'll tell you this much, though: after plowing right through the side of the high school, none of those overgrown children are going to think it's "cool" to fuck around with stuff in a disused coal mine ever again.