#also i know it's a scientific fact that if you write your goals down you're more likely to achieve them

[peachcitt]

normally i never make resolutions because im of the opinion that you can change your life whenever you want and technically speaking any day of the year can be the start of a new year. that being said. my past year was kind of garbage.

so! i have decided to be more keen on new years resolutions, especially making ones that will hopefully make me feel better if something i can't control affects me negatively. i actually made a huge list of resolutions, more than i put here, that all kind of boil down to trying out ways to make my life more comfortable and fulfilling for myself and the people around me.

happy new year everybody i hope this year treats us all kindly :)

[moumouton4]

Nsfw of Viktor Licht from Fire Force?? With like.. a medical kink or an inspection kink 👀

Medical And Inspection Kink Hc || Victor Licht x fem!reader

A/n : Hiiii anon I hope you'll like it ! This was the first time I wrote for something like that so I hope it's great ! Also I chose to go with a fem!reader since I didn't know which one you wanted

Warnings : NSFW, medical kink, inspection kink, fingering, mention of breeding, cum, 18+ READERS ONLY and wrap it before you tap it

Masterlist ⚜

I don’t give permission to repost my work, if you want to share it just reblogue it

Words count : 763

This kink came in such an unexpected way for him

As you were his first girlfriend, he was a little self-conscious about his ability to make you feel good

So he used his scientific skills to gauge your reactions and place them on an imaginary scale in his mind to find out whether you liked the ministrations he was performing on your body more or less

He wanted to learn everything from you, and in the end it quickly became a kink

When he passes by you at certain key moments of the day - with clean hands - he pulls you aside and swipes his finger on your folds or sticks a finger in your pussy if he's eager, to see if you're more or less wet as the day goes on. And then he goes and writes it all down in a notebook hidden in his office, pleased

He does lots of tests to find out what turns you on the most. He kisses you on the neck or gives you a languorous kiss with a firm grip on your ass. And then he'll lift your shirt to see if your nipples are getting hard or put his hand in your panties to see if you're wet.

As I said he just wants to know everything about you, and speaking of which

Once he laid you down on a bed and while looking at a map he started to move his fingers inside you. He was looking for the different points that stimulated you the most. Your squirms and moans were a good indication that he was on the right track

He loves to test how much you can orgasm, whether it's with his fingers, his mouth or his cock. His record, easy, 9 on a row

And then again when he discovered that you can squirt when you're over-stimulated. This time he was able to record a figure of 4 ( he still thinks he can do better )

He loves to feed you different foods to see how they affect the taste of your cum.

that's how he found that pineapple gave you a sweet taste.

He stayed for an hour between your legs as if it were a sweet treat

He puts his hand on your carotid artery to feel your pulse when you're cumming, and once he even brought a stethoscope. He won't say it, but it was your jerky heartbeat that made him cum

One day he even put electrodes on your head to see how your brain reacted throughout your sexual intercourse

One day he even tried to see if he could reach your g-spot with his tongue in your cunt The test wasn't conclusive, and in the end he finished you off with his dick ( well, he doesn't have Orochimaru's tongue after all )

You should know that sometimes he doesn't necessarily want to cum, he just wants to get new information. When he has enough free time, he'll pull you aside and do his little tests

On the other hand, he makes it a real personal goal to make you come every time

He's always trying to scientifically establish a reason why you look so beautiful in your afterglow

Of course, all this information are hidden in a hidden drawer on his desk ( like Light Yagami but it's a Sex Note this time )

No part of your body remains untouched by her skilled hands

And seriously, don't worry about anyone finding this notebook, Victor made sure to write all its contents in a Mayan dialect

It doesn't bother you, unless when he's shining a light in your eyes to see your pupils dilate when you're aroused or getting fucked

Once he nearly poked your eye out with the force of his thrust, ooops

One of his future goal is to see how fast he can get you pregnant

In fact, as long as it doesn't turn into obsession, it's a good enough excuse for hi and you to push your limits even further

Besides, not all your fucks are like that. There are days when he just slam himself inside of you looking for this sweet release and that moment of ecstasy for both of you. In those moments, the idea of noting how many times you clench around him or the force with which you dig your nails in his back doesn't occur to him at all

But he must be aware that you might as well develop this kink. And then we'll see if he can handle them

~

~

A/n : I hope you guys liked it ! 🍱🍗 Again my requests are open 🥗🧀

Taglist : @foxxymunson, @cl0vr, @ilovemanypeople, @glossy1pearl, @jane57sstuff

[gothicprep]

the new statesman recently published dueling essays by richard dawkins and jacqueline rose. dawkins' essay is entitled "Why biological sex matters" and rose's is "The gender binary is false"

i'm not envious of rose's position here at all. dawkins, for all his issues, is a very clear science writer, which redounds to him being a better writer in general. but it's beyond frustrating to see someone defending a position i agree with with extremely low quality argumentation.

rose writes:

"What is a woman?” The formulation has the merit of suggesting that to be a woman, far from being obvious, is a question, and one susceptible to more than a single reply. This is encouraging at a time when the fight over the definition of what a woman is has taken on such virulence. Being a woman is at risk of becoming a protected category, as the binary man/woman hardens into place.

at risk... of becoming... a protected category... well, i have some news for you that you're not going to like. i'm not sure how it's evaded you for this long, but better late than never, huh?

i'm inferring here that rose is using it in a more colloquial sense than i'm reading this. but "protected category" has a very specific (and legal) definition so. i'm not sure why you'd verbalize your point this way. but even that colloquial usage doesn't work! rose is a feminist professor, and i'm sure she'd agree that women have to deal with some metric of vulnerability.

she continues:

This is happening even though it has always been a central goal of feminism to repudiate the very idea of womanhood, as a form of coercive control that means the end of freedom.

holy fuck, this is so stupid. or more fairly, this is highly debatable and it comes down to what she's talking about when she says "womanhood". and she never spells it out.

and. um. let's get to the "best" part...

In fact, the term “female”, as distinct from women, has its own tale. As the New York Magazine critic Andrea Long Chu has written in her book Females (2019), the biological category “female”, as it is understood today, was developed in the 19th century as a way of referring to black slaves. A female black slave was someone refused “the status of social and legal personhood”. To that extent, Chu observes, “a female has always been less than a person”. To assume that “female” is a neutral biological category is, therefore, historically naive and racially blind.

uh. alright. this isn't true. like at all. don't even get me started on andrea long chu dude. sure, she went to duke, but that doesn't exonerate her from being a bullshit artist. which she is. and from what i've read of her work, i seriously don't understand why she transitioned at all. in her mind, women are pretty much empty holes for the world to abuse. maybe she, like, hates herself and the "women are the lowest thing on earth, this is what i deserve" thing is an insane projection. who knows? you couldn't make me bother wanting to figure it out if you paid me.

but this also isn't an accurate reading of that part of chu's book either... this is what it actually says.

As far back as the 14th century, the word female was used to refer to women, with a particular emphasis on their childbearing capacity. But it arguably didn't acquire the technical sense of "a human mammal of the female sex" until the rise of the biological disciplines of the 19th century. In the United States, the man known as the father of gynecology, J. Marion Sims, built the field in the Antebellum South, operating on enslaved women in his backyard, often without anesthesia or, of course, consent. As C. Riley Snorton has recently documented, the distinction between biological females and women as a social category, far from a neutral scientific observation, developed precisely in order for the cap to block women from being recognized as female, making Sims' research applicable to his women patients in polite white society without being granted legal personhood. Sex was produced, in other words, precisely at the juncture that gender was denied. In this sense, a female has always been less than a person.

so, c riley snorton is a black trans scholar at uchicago. chu's referencing chapter 1 of his book called "Black on Both Sides: A Racial History of Trans Identity". i read that chapter, and i cannot for the life of me figure out where she got this idea that snorton is arguing that sims invented a new meaning for the term "female" for racist reasons or for any other reason. i don't speak theory, so maybe i missed it, but i think what's happening here is that jacqueline rose is misreading andrea long chu, who's misreading c rily snorton, who may very well be misreading j marion sims for all i know. snorton says in the introduction to his book, quote: "This is not a history per se, so much as it is a set of political propositions, theories of history, and writerly experiment." so there's that. and if you look up the etymology for the term female (which i did, i've gotten this far), it comes from the latin word for young woman or girl. so even in the 14th century, the term was applied to people.

this is just... laughable, honestly. is jacqueline rose going senile? are we human or are we dancer? i just wish people wouldn't throw up all this smoke to make these bullshit arguments. you can support trans rights without doing this shit.

[tapwrites]

Breaking Paragraphs & Splitting Sentences

a.k.a. "How not to ramble"

When speaking day to day, we don't think about where a sentence begins and ends. Or when a paragraph begins and ends. We don't even put punctuation in!

We can just ramble on and on about whatever's on our mind, like toasters, and walruses, and love, and chicken costumes. About that crazy thing that happened to us last night when you went out for a walk on the beach, and then watched the sunset, and then picked up a beer can, but then you were carrying it for what seemed like hours, searching for a bin to put it in, they should really put more bins on the beach, the place is a mess at the end of every day, what is sand anyway?

A stream of consciousness like that can work in prose... But if you want to make it easy to parse out the story itself, some structure is required to give the reader hints as to how to structure it in their own minds.

How does all that work? And how can you break up sentences and paragraphs in a way that affects your readers the way you want them to?

This isn't a case of making them "the right length" or having "enough" sentences/words so you can move on to the next one.

This is art, baby! And as such there are no easy rules to follow like that. You can do what you want, and go by feel.

Though if you just can't seem to get it right, and need more to go on... this article dives into "what's up with these paragraphs things anyway"? And "how sentence"? So you can build up an intuition for how they work, and how you can use them to affect your readers.

And we'll do so by you reading bits of prose, and watching out for your reactions to them...

You've already read the first example, in fact! What did you think of that stream-of-consciousness paragraph up there? How easy was it to read? Could you pick out a thread of story from it? It was a bit of a mess, right?

It was more difficult to read because its basic structures—paragraphs and sentences—were not used in a way that helps the reader out.

A paragraph keeps going until it ends with a new line, and a new paragraph. That new line is called a "paragraph break." Paragraph breaks are used to break the prose down into chunks the reader can file away into their brains, slotting it into the picture they've got of the story so far.

That doesn't mean they're memorizing all the words of the paragraph, though. They're memorizing a condensed form of what they think the paragraph means. Like a summary.

So what do you think the paragraph above means? When I read it it just comes off as gobbledygook, as rambling "stuff" that doesn't really have any point it's trying to make. And doesn't have any meaning it's trying to get us to file away. It's pretty much impossible to summarise.

This is why we have the term "wall of text." When a piece of text has few structures to chunk up information, it can be daunting to even start reading it.

First, we'd have to chunk it up ourselves--which is just annoying. But also it'll either be rambly nonsense with no real information so we can't understand it well enough to file away... or in theory it could have so much real information all in one go that we'll get overloaded and can't hold onto all of it when we summarise it.

Ever seen a scientific paper like that? They can get away with that because it's meant to be packed with information. And they're largely intended to be read by people who already understand all the terms, so they have a better chance of understanding it in the first place!

But with stories, with prose, the goal is for most people to be able to understand your writing. Not just specialists that already know what you're talking about.

So, we know we need to put in paragraph breaks to "break up that wall." But where? How do you tell what should be grouped up into a paragraph and when it should just keep going?

As with all art stuff, it's more intuition than anything. So as you read the following examples, think about how it "feels like" to read them. Why do they have that effect? And how can we use our understanding of what's going on to our advantage?

Jeff leaped into the air.

A paragraph could be just a single sentence, focused in on a single moment.

Remember, our brain condenses it down into what the point was for that paragraph, like a summary. What would the summary be for this? Probably just "Jeff leaped into the air."

This seems a little pointless to point out... but think about what this is doing for the reader's experience. How much effort do they have to put in to summarising the paragraph? 0%. And how much of the paragraph's text made it into the chunk they filed away? 100%. How many words were lost? None. And how many words had important meaning that you locked in to your brain? All of them.

One action holds all of our attention.

This is why a very short paragraph can have a big impact. In this example, it's probably not worth that impact—unless that leap has a big dramatic meaning.

Perhaps Jeff is leaping down into a gorge to fight a Balrog, sacrificing himself so his friends can escape. This short paragraph by itself holds on that moment in the reader's mind. Lets them ruminate on that moment and all that it means. The implications, the dramatic weight it carries from what came before in the story!

We can use paragraph length to have things stand out in different ways like this. Flip through your favourite novel sometime and look out for the lengths of paragraphs. Why did they choose to make it shorter or longer?

But anyway... this one doesn't have such impact, but it's cool to think about. 😅 It should probably have some more going on in the paragraph.

Jeff leaped into the air. He landed hard on a shipping container, with a clang.

Here, the paragraph as a whole has a little less impact. What happened to the impact of that first sentence? Did it go up or down? The main thrust is "Jeff gets on the shipping container." That's all that will matter for whatever comes next.

So the leap doesn't really matter now. And therefore those words didn't contribute much to the "summary" we automatically formulate in our heads. Instead of all the words being important, only maybe half of them are.

That isn't to say you need to cut out the less important words. It just highlights the extra impact a short paragraph can have with its contents.

If you wanted to, you could try combining sentences.

Jeff leaped into the air and landed hard on a shipping container, with a clang.

Now it feels like one smooth action, a long moment that blends together. That actually feels better to me. Instead of a series of separate sentences, only one of which having any impact on the story that comes after it... it's one sentence that impacts the story as a whole.

Think of it like a comic panel. You can have just 1 thing happening in the panel with extra impact. Or multiple moments of action joined together with motion lines.

Or I prefer thinking of it as an animated gif, joining multiple independent photos--multiple moments in time.

You can't just join everything together into a single sentence though.

Jeff leaped into the air, and landed hard on a shipping container, with a clang, and thought he heard a noise, and ran over to investigate, and said "Who goes there?"

Ick. Right? I mean, you can probably understand what's going on. But it's a bit of a blurry mess.

Why don't run-on sentences like this work, though? Why does it feel rambly even though the paragraph isn't overly long?

Well, what is the point of this sentence? Like we did with paragraphs... think about what the summary is.

Because it's all crammed into one sentence, it's very difficult to summarise. It could be "Jeff gets onto the shipping container." Or "Jeff hears a noise."

If you want to stretch it, you could say "Jeff does some stuff." But if that's all you remember about the sentence, how impactful can that be on the your experience? Little to none. And maybe only a quarter of the words had any impact at all, if we're being generous!

That "with a clang" sensory detail was a nice little tidbit before. Now it gets lost in the noise of actions and dialogue. It kinda feels out of place. There's no longer any room for experiential stuff that grounds the reader in the scene.

So you could cut it all down and remove whole parts of what happened from that sentence. Or you could split the sentence.

Splitting Sentences

How do we do that? First, think about what separate pieces of information we're getting from that sentence. I tend to use slashes for this.

Jeff leaped into the air / and landed hard on a shipping container, with a clang / and thought he heard a noise / and ran over to investigate / and said "Who goes there?"

Now, why is each of them there? What are they contributing to the paragraph? I'll bullet these out so it's easier to label each of them.

Jeff leaped into the air --movement

and landed hard on a shipping container, with a clang --(continues moving) more movement (with sensory detail)

and thought he heard a noise --(stops moving) hears something

and ran over to investigate --movement (because he heard something)

and said "Who goes there?" --dialogue (because he heard something)

Now, you could split each of those parts into their own sentence. But that isn't always necessary. As we saw earlier, the "long moment" of the leap and landing works fine joined up. In terms of the above notes, he moves, then continues moving into the landing. It has one through-line, getting from A to B.

But then Jeff stops moving. That through-line ends, and a new one begins. That makes the perfect opportunity to split the sentence here. The sentence ending hints to the reader's brain that a new through-line is beginning, making it easier to comprehend.

Then he resumes movement, but in a new trajectory--with a new reason, a new goal. It's also implied he stops at wherever he ran to. As this action is caused directly from Jeff hearing something, you could tag it onto that previous part.

And then Jeff speaks. This is separate text that is marked as being different from normal narration. Which is why it should also be its own sentence.

That gives us:

Jeff leaped into the air, and landed hard on a shipping container with a clang. He thought he heard a noise, and ran over to investigate. "Who goes there?" Jeff said.

Just as each paragraph has 1 summary, each sentence has 1 meaning... showing 1 specific thing. One action, one moment, one linked thread of actions. One through-line.

It all has a knock on effect, up the chain of structures...

The clearer the meaning of each sentence is, the easier it is to grab the meaning. The clearer all the sentences are in a paragraph, the clearer the paragraph. And the easier it is to condense it into a summary and file it away.

Splitting a sentence into parts like this also gives us another advantage. Each sentence now has room to breathe, and to grow. We can add more detail, more description, to each sentence. We can be more specific about our meanings within those sentences.

For example, we can describe the noise he heard.

Jeff leaped into the air, and landed hard on a shipping container with a clang. A skittering sounded to his right, and he ran to the edge of the container. "Who goes there?" he called into the night, breath fog lit by the flickering floodlights.

Of course, we could strengthen the impact of certain "meanings" by giving them their own sentences, even multiple sentences. Give more time to the skittering, maybe a worried thought.

This works similarly to paragraphs:

The more focus a sentence has, the more meaningful it is.

So let's put some of that in.

Jeff leaped into the air, and landed hard on a shipping container with a clang. Skittering! To the right! If it was a Fat-Roach, this night was gonna suck. Jeff ran to the edge of the container, and peered into the dark. "Who goes there?" he called, breath fog lit by the flickering floodlights.

Okay cool. I took the liberty of throwing in narrated thoughts from Jeff, and expanding quite a bit on the "Jeff hears skittering" moment. And moving the "night" part into a different sentence where it felt more at home. Oh yeah, and introducing the idea of monstrous giant cockroaches that roam the night, just for kicks.

The sentences are clear, and have a good amount of detail to them. Though we've still got an unwieldy paragraph that's hard for the reader to condense down into a simple summary. There's just too much going on--same problem we had before.

Breaking Paragraphs

Paragraph mode! Engage!

I'll quickly split the paragraph up into threads, using double-slashes. Things I want to stand alone as something new the reader should file away. See if you can figure out what summaries I'm aiming for.

Jeff leaped into the air, and landed hard on a shipping container with a clang. // Skittering! To the right! If it was a Fat-Roach, this night was gonna suck. // Jeff ran to the edge of the container, and peered into the dark. "Who goes there?" he called, breath fog lit by the flickering floodlights.

Why did I choose those spots to split? Here's my thoughts on each part:

Moving onto the container.

(Stops moving.) Notices the skittering and Jeff's internal reaction to it.

(Stops thinking about it.) Jeff acts on what he was thinking.

Hey, those almost look like summaries, don't they? If you're not sure how to split the paragraph up, think about what summaries--what points--you want the reader to come away with after reading these new paragraphs. And break them up or group them up accordingly. Maybe even move things around so you can get a better grouping you want to stick in their mind.

Let's try splitting things up based on the summaries we want the reader to take away from it.

Jeff leaped into the air, and landed hard on a shipping container with a clang. Skittering! To the right! If it was a Fat-Roach, this night was gonna suck. Jeff ran to the edge of the container, and peered into the dark. "Who goes there?" he called, breath fog lit by the flickering floodlights.

Now, you might choose to separate them a little differently. Perhaps break before the dialogue too. Or join the physical reaction onto the mental reaction. This is art; it's all loosey goosey. And it's your art. It's up to what you what feel is best.

That said, there is one aspect every paragraph has, or should have, for it to read well.

Character Focus

Take a look at this:

Jeff ran to the edge of the container, and peered into the dark. "Who goes there?" he called, breath fog lit by the flickering floodlights. Arnold stumbled out from behind a pile of tires. "It's just me sir," he said, gasping for breath. Jeff rolled his eyes. "Well get over here would you? And stop wheezing like a demon in the night. You'll attract the Roaches." "Right you are sir."

Now we have 2 characters doing and saying things in the same paragraph. And it starts getting a bit rambly again. It's hard to follow who is saying what because it's all said as part of one stream, one paragraph, one chunk. We can't file away the previous part of the conversation before the next one barrels into our brains.

You could say this paragraph is about... "A conversation between Jeff and Arnold." But...

It's better to have a paragraph be about one person rather than multiple.

Any sentence has one subject, as in one thing that is performing an action. Even if it's implicit as to what is acting, and what they are doing. A narrated thought is one character performing the action known as "thinking." A description is one character (or perhaps narrator) performing the action known as "observing." And so on.

It works similarly for a paragraph. A paragraph is "about" one character (or narrator). Which character it's about is indicated by who acts first.

(If more than one character is involved in an action, go ahead and show that. But the paragraph as a whole should still be about one character or the other.)

Jeff heaved Arnold up onto the shipping container. "What are you even doing, man?"

In the above example, Jeff is the subject of the paragraph because he's the one performing the action. Which means we can just throw in some dialogue and it's implied that it was spoken by Jeff also.

Arnold clambered up onto the shipping container, with a helping hand from Jeff. "What are you even doing, man?"

If Arnold was the one acting at the start, we intuit that the paragraph is about him. And we'd assume the dialogue is his, too.

Let's try putting this idea into practise with our conversation from earlier, and see how it feels. When we change to a different character acting (speaking), we break into a new paragraph.

As you read this, pay attention to who is acting, and how that sets up who you assume is being referred to in the rest of that paragraph.

Jeff ran to the edge of the container, and peered into the dark. "Who goes there?" he called, breath fog lit by the flickery floodlights. Arnold stumbled out from behind a pile of tires. "It's just me sir," he said, gasping for breath. Jeff rolled his eyes. "Well get over here would you? And stop wheezing like a demon in the night. You'll attract the Roaches." "Right you are sir."

How does that feel? Better? Clearer? Now each paragraph features one character, and what they say has its own spotlight.

You probably didn't think twice as to who each pronoun was referring to, even though both characters in the scene use the same pronoun.

How did you know that? Because the paragraph was set up earlier to be about one specific character. So using their pronoun automatically refers to that same character.

And who said "Well get over here would you"? Did you guess it was Jeff?

How did you know that? There is no dialogue tag to tell you, after all. You know because Jeff is that paragraph's character. And why is that? Because Jeff is the one acting.

See...

You know these rules implicitly as a reader.

That's how you guessed correctly. But hopefully seeing these ideas spelled out and demonstrated will let you lean on those rules. Make them work for you!

And note that last paragraph, which has no character mentioned at all... Who did you think is saying that dialogue? Arnold, right?

How did you know that? This is a conversation between 2 people. Each paragraph is a different person speaking, bouncing back and forth between Jeff and Arnold. Jeff just spoke, so it's Arnold's turn. If the next paragraph has dialogue, it stands to reason it will be Arnold's dialogue! Simple as that!

So how did the reader know who was speaking? Because a pattern was established by the writer. The way it was written set up an expectation in the reader, which let the writer use that expectation to write the scene a little easier.

(Just don't rely on such a pattern for too long. If they forget whose turn it is, that'll get real confusing. 😅)

When you next read a novel, have a look out for things like this. What patterns and expectations is the writer creating, even at the prose level? How are they relying on those expectations to tell the story?

Some paragraphs have no action though. Think back to this paragraph:

Skittering! To the right! If it was a Fat-Roach, this night was gonna suck.

This doesn't mention any character at all. It looks like plain ol' narration. But we have a viewpoint character: Jeff. So any narration is more like "what Jeff sees," "what Jeff thinks," etc.

Jeff is acting here. What is he doing? He is thinking. This paragraph is narrating thoughts what Jeff thinks in this moment. So he is the character of this paragraph, kind of by default.

But then, how do we know Jeff is the viewpoint character, and not Arnold? The same way we know which character is the focus for a paragraph, but one level higher. They were the first one to act in our story. We started with "Jeff leaped into the air." So he became our viewpoint character—for this scene at least.

That's because I'm writing in "3rd person limited," where I'm limited to only what one character experiences and their internal thoughts—known as the "viewpoint character." If you're not writing with a viewpoint character, the reader will assume it's the narrator commenting on what's going on instead.

This is why when some stories start with a description of the kingdom or some backstory of the world, readers can feel a bit lost until a character is introduced. "Who cares about the lore if there aren't any characters in this story?"

And why it's more engaging to be introduced to a character doing something instead of just being mentioned as existing. "Okay, so there exists a princess in this world. But they're not doing anything, so this is just data. Skip to the story!"

Your mileage may vary on this. Tastes differ after all. But it's something to think about for your own stories.

In summary...

Paragraphs have 1 character doing 1 or more closely related things. (Even if those actions are no physical: observing, thinking, talking, etc.) This then condenses into a summary that will have some amount of impact on what happens in the rest of the story.

Sentences have 1 character doing 1 thing, possibly with added super duper closely related things of the same kind.

Though when I put it like that, it seems way over-simplified, and comes off as sentences being pretty much the same thing as paragraphs. And maybe chapters? And stories?

The advice "focus on the story being told" applies to all parts of the text, great or small.

And it's a fair guiding principle for writing good prose and good stories. But also not necessarily that helpful when you're "on the ground," and "in the trenches," writing the prose day-to-day.

That's because it's a lot more about intuition. About heuristics. About where it feels like you should end a paragraph, etc. Hopefully the intuition you've absorbed through these exercises will be a lot more useful than trying to enforce these "rules" for every piece of text in your story.

Perhaps you'll develop these ideas and have your own way of thinking about them. But hopefully this will give you a solid place to start from and you can get to ripping and stitching sentences and paragraphs whenever you want to! 🫶

[thefanficmonster]

Hello! May I request sfw (and nsfw if you’re comfortable with that) general dating hcs of Asher and Connor from htgawm?

Hi dear! Sure thing!

Since the people in question are fictional characters, I will write some vaguely NSFW headcanons below so beware of that before proceeding. Love, Vy 💕

Asher Millstone (aka my underrated baby I love him so much)

Dating Asher is more often than not the equivalent of dealing with a hyper energetic kid

That can range from fun and adorable to annoying within a second

Or depending on your mood really

All in all, that boy only aims to put a smile on your face and hear your laugh

You know, brighten up your day regardless of if it's gloomy or not

And you appreciate it greatly but sometimes, all you need is a breather

Luckily, all you have to do to accomplish that type of understanding is communicate to him that, unlike his permanently caffeinated ass, you get worn down some times more easily than others

That's been proven enough to install a sixth sense into Asher so he can practically feel your mood change based on simply your posture or the way you look at him

On those days when you aren't feeling 100%, he's always there to offer you anything you could possibly need (including solitude, he's gotten better at leaving you alone when you need him to)

Even though he's a lost puppy without you

He's a cuddler, no one fight me on this

And a mother-hen type, but only with you so no one, especially no one from the Keating 5, would believe you if you were to tell them

He's a very affectionate guy, physically and verbally alike

But he can also tell you so much with nothing more than a simple look from across the room

That's been scientifically proven to be the one thing you can't not blush at

And luckily for you, he finds your blushing adorable

I would've said a turn-on if this guy wasn't horny 24/7

Everything you do can be a turn-on to him, but he only acts upon his desires after making sure you had done whatever it is you did on purpose to seduce him

Speaking of acting on desires...

In the bedroom, he's the polar opposite of who he is outside it

He takes his sweet time with you which can either be pure heaven or teasing hell for you

He sometimes even has the audacity to 'scold' you on your lack of patience which only gets you more frustrated

But how could you possibly stay mad at this teddy bear for long?

All in all 10/10 would definitely date this man

Connor Walsh

Oh you two are something special

With his personality, you're either on the same page or but heads like petty five-year-olds

All in good fun....mostly

For someone who strives for maximum professionalism (except when he used to sleep with every second guy he'd run into) he's rather immature at times

And you love sticking it to him

You, on the other hand, hate it when he compares you to Michaela when you supposedly start drama or become hot-headed over something

He's a very laid back guy, there's no doubt about that, but there's a certain degree that you'd argue is crossing the line

His view of you is the same, but flip it around

He's pointed out to you the fact that you're a control freak countless of times and, although you're willing to deny it blood and fire, you know he's right

And he knows you know he's right, which makes that smirk that appears on his face all the more infuriating

But there's a silver-lining to your frequent bickering: the way it ends

*ahem* more often than not with passionate love-making *ahem*

Much like I mentioned with Asher, Connor too likes to take his time with you, his main goal being to relax you but he's never been opposed to something of a more intense pace

After the act is when you can catch him at his cutest, being the little spoon in your embrace and babbling semi-coherently with his face more than half buried in the pillow what he wants to do after graduating

How he wants to make you proud and wants to see you succeed with your career goals as well

Now, if you were to record that, you could legally use it as evidence to prove what a softie he actually is

But you never would, of course

What happens in the bedroom stays out of the courtroom

[pedropascalssimp]

Grumpy

Boba fett x fem reader

Summary: boba is a grumpy man but we love him... Also for a real summary: the reader is annoying, always talking and being a goofy person. And boba only tolerates it because he loves her.

Warnings: slight language I think? Slight jealous boba, he's also a bit insecure in this one. Fluff, FLUFF.

Pic credit to @xxrosaaa29xx I'm using your pic for scientific research purposes 👀

Also dala means "woman" in mando'a incase whoever reads this didn't know and found themselves in confusion like I do most times....

I know I also said I'd write for din more but, c'mon! My bestest friend ever here inspired me to write this!

Thank you my amazingly beautiful friend @friendscall-me-mom this was spurred on because you 👀

Boba was a busy man, he couldn't seem to hold still for more then two minutes. He always had something keeping him busy or somewhere to be, but that's the way he liked it. So ever since boba claimed the throne that once belonged to jabba the hut and later jabba's companion Bib Fortuna, boba found himself almost never leaving the palace, it was relaxing yes, a nice relaxing thing actually, but also a little too... Uneventful for his liking. So after leaving Fennec in charge over the palace, someone he knew he could trust, he brought you along with him to venture away from tatooine to accompany him on his first bounty hunt in almost six years.

When he had gruffly asked you to join him, it left you baffled. You thought he'd enjoy a nice time away from you considering he always spoke of how annoying you are, he always ignores you are tries putting a distance between the two of you. In your eye's he hated you, his actions displaying such. But in all honesty? Boba fett found himself attracted to you, his brown eyes always glued to you when you walked into the room, gaze unable to leave your figure for a second. His heart always doing the annoying flip it does whenever he hears your laugh or catches a glimpse of that beautiful smile adorning your face.

He pushed you away because he didn't know how to love you like you deserved, you was always so... Happy, bubbly personality and jokes putting a smile on everyone's face. He was afraid that if he let you love him, his usual grumpy and hardened personality would dent your chirpy one. So... He pushed you away.

But you didn't ever see the adoring looks he gave you, or the faint tug of his lips when you told a joke. All of those things went unnoticed by you, partly because the helmet he wore and the fact he always hid his emotions well. Something you found infuriating. But despite that, and his constant grumpy behavior towards you, you found yourself intrigued by the man, you couldn’t deny he was a handsome man. Dark eye's that seemed to sparkle whenever the light hit them just right. And although his words was always short, sometimes even harsh on the more stressful days for him, you found yourself hanging on to every word he spoke, his voice intoxicating, beautiful. You scolded yourself many times for falling in love with boba fett, but then again how could you not have? When he showed you rare moments of kindness - especially when you had both met on tython, you having permission from your friend din to stay with boba. Because din saw how you looked at boba, he knew you was in love with him.

But damn was boba oblivious, or either he knew you was smitten with him and just hid it well. Whatever the case, you was slightly hurt by the fact he always found a way to either distance himself from you are push you away.

Slave I was quite, boba sitting in the co-pilot seat while you let your mind roam freely to dwelling thoughts. But you let out a little laugh, the sound drawing boba's attention as he tilts his helmet in your direction.

"what's funny dala?" he asked, speaking mando'a, a nickname you've learnt well. He often enjoyed using it in a mocking manner though, it usually rolled off his tongue whenever he was annoyed or like said, mocking someone, aka, you.

You shrug, a grin on your lips. The reason you was amused though, was today's previous events played on your mind. You and boba had both stopped by a cantina on Batuu, only stopping their for fual and a bite to eat. Because you wouldn't shut up until boba finally gave in and took you somewhere to eat. And as you was both enjoying a meal, boba choosing a nice empty booth in the dark corner as he took his helmet off. A man had been flirting with you, it was harmless really, a few compliments on your beauty and a few hints of how the man genuinely wanted to get to know you better. Although he seemed nice you didn't really want to speak with him, so let him down easy.

But boba was, for some odd reason to you, pissed off with the man's constant talking. He didn't like how his eyes roamed your body, didn't like how you indulged him, and he really didn't like how he talked to you, using those flirty little comments and jokes, coaxing a laugh or two from you. Boba hated it, he was fuming. So without hesitation, boba threatened the poor man's life with a cold hard stare causing the man to flee the whole planet with fright.

Although you was slightly mad at boba in the moment, you found it hilarious now. Letting out another laugh you try and cover your mouth, stifling the laugh. "what is it?" he seemed genuinely curious but his words came out bitter.

"you scared that poor man to death boba... He literally left Batuu because of one simple glare and a few threats!" you laughed, grabbing your side because of how hard you was laughing now. "di - did you see his face!" you wheeze out through laughter, "he almost pissed his pants!" you shake your head and your laughter dies down.

Boba, unknowingly to you, had a smile on his face, Almost prideful. He focuses his attention on you now, loving the sight of your wide smile now. He had thought he angered you with how he scared the man off, he thought you was actually attracted to the other man. But seeing you laughing about the situation put him at ease, you wasn't mad at him.

"I thought he was bothering you, he was surely bothering me with his jabbering" boba tried to brush the topic off. He felt slightly annoyed he was jealous over the fact the man had made you smile and laugh. And the man was younger, his face not as scarred or aged as boba's. He didn't want to admit it, but he felt a little insecure when around you, why would you want him when the galaxy had so much more out there for you?

"oh he wasn't jabbering, he was being nice... But you scared him enough to flee the planet" you giggle, amused by the situation.

He only grunts in response, one of many signs he was in a grumby mood. You flicker your eyes down at his side, the side his beskar failed to cover.... Grinning you reach over and poke him.

"stop being grumpy" you muttered playfully, his visor snapping in your direction before falling down to look at where you kept your hand, ready to puke him again.

"I'm not grumpy princess" he harshly grunts out while taking your hand in his and throwing your hand back into your lap. "don't touch me..." he muttered. He may have came off as angry, but under the helmet he was flustered, your touch sending a delightful warmth spreading all over him, turning his face red.

Your smile filters for a moment, thinking you may have infuriated him. The sight makes him guilty until he sees you grin again. "you have to be ticklish, everyone is. I'm now making it my goal to find you're ticklish spot!" you declare cheerfully. Boba shaking his head.

"I'm not ticklish. let me be dala" he spoke while putting the ship on autopilot as he went into hyperspace. Standing up he leaves the cockpit, you following him. He walks into the cargo area, plopping down on a crate as he takes his helmet off, usual stoic expression on his face as he cleans his helmet off. A act he does out of boredom you've grown to discover.

"not ticklish eh? So you won't mind..." you sit beside him making him go stiff visibly, his hand freezing as he wiped the visor off. "this!" you slither your hand on the spot between his neck and shoulder and start tickling, but he does even smile, much to your dismay.

"please stop" he deadpanned. And you do so with a huff. "I'm not ticklish so stop" he continued wiping his helmet off.

You sigh deeply and cross your arms. "I've never seen you smile nor laugh, If I can't find you're ticklish spot then I'll tell you joke's!" you state, his face slowly morphs into one of annoyance.

"please don't... I left tatooine for two reasons: peace and to be able stretch my legs for a bit" he said while looking up at you, his dark eye's capturing you for a bit.

"then why did you invite me to join you? You know I annoy you with my presence" you say, arms crossed.

He invited you because he knew how men eyed you on tatooine with hunger, with a undeniable look of lust. He hated it, wanted to rip all their eyes out for doing so. He knew that if he left any man could waltz up to you and flirt their way into your heart. So he brought you with him because he'd be damned if he left you on tatooine, he never wanted to leave your side.

"because I knew that if I didn't you wouldn't shut up, I've heard how you wanted to leave the place for a little vacation as you put it and I had already planned on hunting so... I invited you" he muttered, blowing on the visor to ensure its clean before sitting it aside, now cleaning his blaster. It wasn't a lie, he heard you telling Fennec how you wished to escape the sands and scorching hot heat for at least a little bit.

Your heart swells at his words, to anyone it was nothing. to you... It was his way of showing affection. He knew you wanted a vacation so he took you with him, if you didn't know any better you'd say he even planned this hunt because that. But that was wishful thinking.

"did I ever I tell you the story of how Mando got zapped by those jawa's?" you snicker, knowing that would at least make him smile. But he nods, confirming you have.

"more then once mesh'la" he didn't mean to let that one simple word slip from his mouth, but it did, and from the beaming smile and small blush on your cheeks, he knew you knew what it meant.

"oh you think I'm beautiful now?" you tease, seeing the way he tensed up whenever the word rolled off his tongue, you knew that you turning it into playful banter would ease away whatever it was that made him tense like that.

"shut up girl" he grumbled while standing up, you doing so making him huff. "don't follow me around like a damn lost child!" he snaps, taking you aback slightly. But you shrug his words off, although they did hit pretty hard.

He saw that and grumbled something before continuing whatever it was he was doing. "what if I don't wanna stop!" you say with a giggle, following him to the poor excuse for a bed he used.

"then I guess I'm gonna have to face the fact you're goal and life purpose is to annoy me" he said, sitting on the bed, slowly stripping the beskar off piece by piece. You could only watch as his soft shirt he wore under it exposed the softness of him, his tummy practically begging for you to reach out and tickle it -

You grin at the thought his tummy would be ticklish, it was a mischievous glint in your eye that alarmed him. "oh no" he muttered as you grin at him and flop down beside him on his bed.

"admit it boba, you enjoy my company" you sigh with a big smile, his scoff only making you giggle. He opens his mouth to respond but whatever he wanted to say was forgotten the moment you tickle his belly, soft and adorable like you always thought it would be.

His eye's widen as he finds himself laughing, a smile on his face. He falls backwards on the bed as you crawl on top of him, straddling him as you continue tickling his belly as your heart flutters at the sight of his smile and sound of his gruff laughter.

"you do have a ticklish spot!" you laugh, his large hands resting on your hips as he flips you over, now he was hovering over you.

"you are relentless" he mused, his smile now gone and replaced back with his grumpy expression. "don't ever do that again mesh'la" he grumbled. But he couldn't deny how being so Close to you makes his desire to kiss you grow strong. Once he catches

"oh Stop being grumpy, it’s lame." you tease him, cheeky smile. He shakes his with a huff.

"You're an idiot" he retorts while rolling off of you, much to your dismay. He sits up and back in the position he was once in. You sit up beside him.

"but you love me" you said it before you could register what exactly fell off your tongue. Boba seemed to freeze beside you, making fear settle deep within your very core. "I - I didn't mean - like -

Your stuttering was shushed by the smile boba gave you, it was soft, didn't quite reach his eye's but it was still genuine. "unfortunately dala I do..." he didn't look you in the eye, instead, his cheeks starting to turn a little pink as he fiddle with a piece of his armor he picked up off the floor, he didn't want to see you possibly reject him, he didn't want to see your face when you laugh at him for confessing such a thing.

But maker was he surprised when you scooted closer and gently cup his cheek making him look at you, the genuine soft smile on your face different from the cheeky ones or mischievous ones you'd always offer the bounty hunter.

"do you mean it?" you ask him, voice barely above a whisper as your eyes search his dark brown ones for the answer, and you saw it, swimming amongst the endless brown hues of his eyes. A truthful, raw emotion besides being angry he showed you, displaying it before your very eyes. Love, adoration, truth....

"I have loved you since the moment I saw you, although I'll have to admit I thought you and you're mandalorian friend was already a couple. That's why I hesitated to talk to you so much" boba confessed, a smile beaming on your face as your eyes glow with joy. Your thumb subconsciously stroking one of many scars on his face.

"likewise, I've never seen someone quite as handsome as you before, nor as intriguing" his snort of amusement made you give him a confused look, wondering what he found funny.

"oh so you find me intriguing?" he smugly replied causing you to roll your eye's. Your free hand that wasn't holding his face, fell to his soft tummy. He tenses up and gives you a warning look. "don't" he muttered.

But you only grin at him, "why not? If you want to laugh at me I'll give you something to laugh at" you slip a hand up his shirt, his warm skin soft. Your touch had his heart doing a flip, if not for the fact he knew you planned on tickling him, he'd find this soothing.

"I wasn't laughing, just simply asking a question"

"after you let out a little laugh" you point out, he shakes his head ready to protest, but you had already begun your assault, tickling his belly. Practically in his lap again as he fell back.

You both knew that if he really wanted, he could stop you easily. But hearing his thunderous laugh echo across the ship and seeing his beautiful smile? It made you beam with happiness, a sight boba couldn't get enough of.

Needless to say, after the hunt you and boba has shared a kiss, slept in his arms every night as he claimed you as his. When you both arrived back on tatooine and into the palace you called home, Fennec had seen how boba had became extra protective over you, seeing how he couldn't seem to leave your side. She knew the hunt brought you both together, it was a relief, now she didn't have to see you both dance around your feelings for each other.

_________________________________________

[dianapocalypse]

Hi! I just found your art through Youtube from a Gideon the Ninth search and I'm so freaking happy! I've watched a bunch of your videos and I'm about to subscribe to your Patreon. I love your art and I love your videos.

In one of your videos you mentioned having ADHD so I there's you might understand a dilemma that I have:

See, I'm 22 years old and I'm just now starting to learn how to draw. I know that I am creative and I do have some talent, but clay and yarn have always been my preferred medium.

I'm really proud of myself for sticking to my goal of doing some sort of drawing in the last few days that I've been quarantined, but I'm worried that I'm going to burn out because my drawings don't look the way I want them to; they're not very good. I know I can't be immediately good at it, but I'm not getting that "finished task dopamine rush" if you know what I mean, and I can already feel it starting to wear my attention down.

I really want to be able to draw people from The Locked Tomb and Star Trek and TAZ and actually have it look good. I know it's gonna take a lot of practice. Do you have any tips for staying with art (specifically drawing people) in the beginning when I'm not getting the results I want?

omg hello!!!! thank you so much for watching my channel and the kind words and aaaaaaaaaaaaAAAAAAAAAA you have made my day!!! WELCOME TO DRAWING! something I have noticed with ppl who start art (or any skill) Later In Life is that they start in stage 2 of Learning Stuff. this is a highly scientific term. but basically, the four stages go "being not good but not realizing it at a thing", "being not good but knowing it", "being good and knowing it" and "being good without thinking about it". again, I am explaining this Highly Scientifically. but that's good news, because that means you're already on stage 2! that's one whole stage closer to being good at things!

but that is not your question! the question is how to avoid burnout, and I can help with that too!

the way forward is DRAW VERY SELF INDULGENT THINGS! if you're not getting the dopamine from the finished product itself, you can get it from WHAT you're drawing. example! i have three entire 100+ page photo albums full of art from one of my D&D games because I fell in love with my OC. I wasn't very good at art for most of that game, but by the end of it, I was PRETTY DECENT! it didn't bother me that much that my art was just OK at the beginning because I was just having so much fun drawing that character. over and over again. hundreds of times. maybe more even. doing lots of things. like smoochin her boyfriend. but in a distinctly bisexual way.

where was I. YES. avoiding burnout. so I recommend starting there! draw what you like! draw what brings you dopamine anyway!

i also recommend trying to embrace your mistakes! the fact that you're NOTICING them means you're at the step right before learning how to fix them! and then when you DO learn how to fix them??? the DOPAMINE will FLOW. the way to do that? when you draw something wrong, go find a reference of it! if it's a pose you're struggling with and you can't figure it out, take a picture of yourself doing it or look at yourself doing it in a mirror! (or, if you start from a reference, you'll already have one ready to go! I recommend Adorkastock on DA/Tiktok or https://doll-a.net/. That second one even has an app you can use to download a 3D mannequin that you can pose however you like! It's a little clunky but it's FREE!) references will make you get good so much faster than not references. this reminds me I wanted to make a video about references. I will write that down!

you have also inspired me to make a video with more just How To Draw Stuff advice! I have been batting an idea around but knowing someone would actually GET SOMETHING OUT OF IT is motivating! i will try to make that next week's video!

in the meantime, keep drawing stuff you love!! make more TLT content! or TAZ or D&D or Star Trek! lifehack, you can do figure studies and then just make them into your OCs or characters you like from those things. no one can stop you. what if they were ALL gideon nav???

[msguccisam-blog]

Nursing Writing Profile         Samantha Dohring 7/17/18            There are many different forms of writing in careers. Each profession uses different genres of writing to present and fully state what they are trying to betray to that certain audience. Nursing for example heavily uses writing. In Nursing you will need to do many charts and writing reports. These types of writing styles help nurses communicate with doctors to help diagnose patients. Some of in depth examples of the exact type of writing task nurses use are care plans, flowchart, narratives, and lab reports.               While I was in HOSA, which is a medical program, I made journals and charts of what I saw at hospital visits. One day, I was in Respiratory Therapy Center which was a very enjoyable experience. I would ask questions to the doctor and write down their opinions. In the journal I created, I would write about the patient I saw and what they were diagnosed with. I noticed while I shadowed the doctors that they would have lab reports of each patient they saw regularly or irregularly. This would help them decipher what their illnesses was and the different information about each patient. My mother who is also a nurse explained to me that nurses also create flowcharts. What flowcharts do in fact is help with decision making. She uses flowcharts to help come up with ideas how an illness was caused. This makes a diagnosis run more efficiently and smoothly.            When creating a flowchart it is best to make sure the information you’re talking about is structured left to right so it’s easier to understand and comprehend. Make sure the flow charts are on one page. Always use split paths when creating a flowchart, it makes reading a flowchart easy to read without much explanation. Another writing example is lab reports.  For lab reports you must design a title page and determine what the problem is exactly. More steps to a lab report are: creating a hypothesis, listing your materials, testing experiment, and creating a conclusion. These steps will help you create a well informative lab report. These will be used to  help diagnosis a problem and solve it for future medical challenges. The last example that I will talk about is care plans. To create a good care plan you must first assess the predicament.  Then, create goals and make a list of concerns for future references.   Create a well-rounded care team to help you with this situation. Lastly, put your plan into action. Care plans are good ways to help avoid stress and time. This helps patients reach the desired goal in an organized fashion.                       In the medical field they also use a writing style called APA. APA stands for american physiological association. This is used to minimize distractions and maximize precision in the writing process. This style guide is used in research papers, and references. Being very clear with your writing and specific. What you're trying to convey should be concise and logically written. When writing a scientific paper using the same concept rather than using different alternatives of the word you use is better. I believe this writing style is beneficial and good for this certain type of profession. I personally need to develop more of a vast vocabulary when doing my research papers. I want to work more on my knowledge of how to create the different tools that will help in my field of work. I wish to also become better in writing my thoughts onto paper so it makes sense to the reader. I will learn to perform the writing forms required for this particular field. With determination and hard work I know I will be able to strive far.