#and accept other viewpoints

[anniebanannie0]

.

[spaceinmyhead13]

My one friend joked today that he wasn’t sure if our other friend writing like 3 essays back to back for college was more mentally ill, or me writing more than double that for my ORV gay fanfiction is.

It was decided that it’s me. I’m the most deranged. And you know what, I’ll take it.

YJH and KDJ my beloveds they could never make me hate you

[luvevee]

Getting into Mouthwashing is awesome until you wanna autistic babble to others about it only to realize most of the convos discussing the game are 95% about Jimmy and nobody else, please I want variety

[ofpearlesce]

speaking as a bigender person, i find people get really tense when i bring up how one might be affecting multigender people in the collateral when addressing trans men rudely. you know some people are transfem and ALSO not women in their entirety right. you know that generalizing trans men gets some transfems in the crossfire, right?

please look at why your hackles are raising when multigender people are brought into the conversation. it's important to be able to identify where your feelings come from.

[pttucker]

"I shall end you right away if you prove to be a burden to this group even for a second." Yoo Joonghyuk discarded my wrist like trash and stood up from the spot. "…We've wasted precious elixirs." Yoo Joonghyuk strode away and settled down on a nearby boulder to polish the [Black Heavenly Demon Sword] again. It had been broken once before, so its durability must've fallen by a quite lot now. Lee Jihye, watching that, spoke to me. "My Master, no wait, my Senior Brother is really cool, isn't he? Even though he's saying that, he was the first person to recommend using elixirs on you." …That Yoo Joonghyuk did? I couldn't understand no matter how hard I thought about it. Even if I was 'Kim Dokja' and not the 'Watcher of Light and Darkness', he wouldn't have… – He's not as cold-blooded as you think. I heard the dumpling [999]'s voice quietly enter my ear. ⸢"Do you still believe that you can understand someone through just a few lines of text in a couple of chapters?"⸥ [999] told me that not too long ago. He was right. Even though I knew his words were correct, I kept forgetting them over and over again.

Mmmhmm sure Joonghyuk. You'll definitely end him. Riiiight.

"Even if I was 'Kim Dokja' and not the 'Watcher of Light and Darkness', he wouldn't have…"

YES HE WOULD HAVE DOKJA!

Ugh, I both love and hate that Dokja seems to constantly misinterpret his companions and how he does seem to consistently forget things that he knows.

Like, it's frustrating (though it makes for great angst and hurt/comfort material so secretly I love it) but also it's pretty established that Dokja has had serious, ongoing trauma in his past and that likely makes it so that even if he logically knows something, that doesn't necessarily mean he can actively put it into practice by following the thought through to its conclusion, i.e. that Joonghyuk is actually not really all that cold-blooded, especially when it comes to him.

Actually, I feel that the fact that most of Joonghyuk's caring attention has been directed at him actually has had a detrimental affect on Dokja recognizing that Joonghyuk is not the bastard that he thinks he is because Dokja thinks everyone who directs caring attention towards him has some ulterior motive and doesn't just, you know, care for him. They're not there to help him, they're there for shares of the story, etc.

Also, for at least Joonghyuk himself, it probably is hard for Dokja to reconcile the person that he's "known" for ten years via only the cold-blooded persona Joonghyuk has been forcing himself into since the beginning of TWSA with the guy that he is underneath it all, let alone the guy that he is now (who Dokja actively helped blossom).

So while I love this little conversation Dokja has with tiny Joonghyuk and Dokja openly acknowledging that Joonghyuk's always been trying to protect his companions this whole time, even if he doesn't want to be particularly close to them for his own emotional well-being (I mean, even just look at Secretive Plotter...) that's actually something Dokja has literally known since the beginning of ORV and he still falls into the mental trap of thinking Joonghyuk don't care so I won't be terribly surprised if he ends up having this "realization" a couple more times before the end of the novel. 😅

[son-of-avraham]

reading names of people who passed on their yarhzeit (the jewish date of someone's passing) is a really really common practice, as in every shul I have ever been to does it. mourning in judaism is very very scheduled and marked by time (after someone passes we mark shiva - 7 days, shloshim - 30 days, and then yarhzeit -which means year time, basically).

usually the names read are connected to the congregation i.e. family members of current members or deceased temple members.

i don't know when reading names at shul started or if all sects practice it (i've only been to reform and conservative) I know my uncle who is orthodox says that name on the exact date vs. my family where we say the name on the closest shabbos to the date but light a memorial candle on the exact date. but it's a way to collectively mourn and something i've always found a lot of comfort in when it's the yarhzeit of a family member.

really lovely to see your post about how much the reading of names at yarhzeit means to you!!!

Thank you for educating me, I really appreciate you taking the time to give such a detailed and helpful response! I was very aware of how important mourning and the dead are to judaism, and it was something I was prepared to encounter, but I wasn't ready for it being so... normalized, I guess, if that makes sense? As somebody who is really death positive, I love that we are encouraged to remember those who have passed, to respect and include them, and I appreciate that judaism is open about that and integrates that into important things like service.

[thevegetablewhichnoonedaresname]

I think something I'm coming to realize about myself lately is that I can be convinced to like anything if it's brightly colored enough

[thewriteadviceforwriters]

Character Flaws and Their Meanings

Impulsiveness : Acts on instinct without careful planning. Perfectionism : Sets unrealistically high standards, leading to self-criticism. Indecisiveness : Struggles to commit to decisions or choose a path. Arrogance : Overestimates one’s abilities and dismisses others. Pessimism : Habitually expects negative outcomes in most situations. Cynicism : Distrusts the motives and sincerity of others. Overconfidence : Places excessive faith in one’s skills, often underestimating risks. Stubbornness : Resists change and refuses to adapt to new ideas. Jealousy : Feels envious of others' success or possessions. Insecurity : Experiences frequent self-doubt and a lack of confidence. Procrastination : Tends to delay tasks, often leading to missed opportunities. Passivity : Avoids taking initiative and relies on others to act. Aggressiveness : Responds with hostility or force rather than reason. Selfishness : Prioritizes personal gain over the welfare of others. Fragility : Is overly sensitive to criticism and easily discouraged. Egotism : Constantly focuses on oneself and one’s own importance. Defensiveness : Quickly rejects or rationalizes away critique or new information. Manipulativeness : Exploits others to fulfill personal needs or desires. Recklessness : Shows a careless disregard for potential risks or consequences. Resentfulness : Holds lingering bitterness and grudges over perceived wrongs. Distractibility : Finds it hard to maintain focus amid competing interests. Impatience : Lacks the willingness to wait, often spoiling opportunities to learn. Perfunctory : Performs actions in a mechanical, uninspired manner. Self-Doubt : Consistently questions personal abilities and decisions. Arbitraryness : Makes decisions based on whim rather than reason or evidence. Rigidity : Is inflexible and unwilling to consider alternative viewpoints. Gullibility : Trusts too easily, often leading to being misled or deceived. Obsession : Becomes excessively fixated on particular ideas or details. Aloofness : Maintains emotional distance, appearing detached or indifferent. Intolerance : Refuses to accept differing perspectives or lifestyles.

Writing Advice for Brainstorming

Mix genres and time periods: Experiment by combining elements from different eras or genres to create unique settings and narratives.

Use "what if" scenarios: Pose unexpected questions (e.g., What if time travel operated on emotions rather than mechanics?) to spark novel ideas.

Draw from diverse mediums: Engage with art, music, or even scientific papers to inspire unexpected plot twists.

Embrace absurdity: Let illogical or surreal ideas guide you; sometimes the wildest thoughts lead to compelling stories.

Reverse clichés: Identify common tropes in your favorite genres and deliberately invert them to create fresh perspectives.

Incorporate personal anomalies: Transform your idiosyncrasies and personal struggles into rich, multi-dimensional characters.

Use mind-mapping: Visually plot your ideas in a freeform way to uncover hidden connections between disparate elements.

[donewithreligion]

Allow Each Other to Follow Their Path

by Michael Donahoe Is it aggravating to anyone else, or is it just me? I mean the fact that no matter what you believe, what your interpretation, someone always has a completely opposite view. You get excited about hearing some truth that really connects, and the next thing you read an article by another Christian person that completely disagrees with what you just heard. Even more than that,…

[batmanisagatewaydrug]

Why are so many kids so reactionary?

because they're young and have a lot of passion and confidence without the experience or opportunity to develop more nuance to their opinions, with condescending adults who should know better making them feel like they have to dig in their heels—not to mention, sometimes, other adults who like the reactionary politics being espoused offering sincere support and discouraging the acceptance of conflicting viewpoints.

[blackkatdraws2]

[Omniscient Reader's Viewpoint] 5 years of waiting for Han Myungoh to reappear in the manhwa only for him to be changed into a completely new person. Disappointment.

[NOTE: I don't have anything against people who like Han Myungoh's Demon Earl design.] This will be me ranting/venting about Han Myungoh's new design. Don't get me wrong, I still like Han Myungoh. I love him a lot, I'm just letting out my frustration.

-------

"There were many small wrinkles on Han Myungoh’s face. Moreover, his whole skin was blackened. Putting aside the wrinkles, the skin discoloration was a sign of a species variation. The longer I looked, the more I could see the old face. Still, many human traces were missing and it was hard to know without looking closely." - chapter 204, Unidentified Wall

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Getting this out of the way before I start: I know that the manhwa design is accurate to the novel description, I know that there are many technical reasons why his design in the manhwa differs from merch/official art/etc., and I'M NOT HATING ON HAN MYUNGOH'S NEW DESIGN.

Okay.

I'm sad at the manhwa version of Han Myungoh's demon form.

Particularly, I'm upset since I doubt they'd make such a drastic change with any of the other KDJ Co. members. [There's Kim Dokja's demon form, but even then I could still tell that it's Kim Dokja, unlike with Han Myungoh.]

I knew he was gonna look different but something this drastic makes me feel distressed. Han Myungoh was the first, and currently still the only comfort character I have in my life, which is surprising since I never expected to even have a comfort character. Loved him in the novel, loved him even more when he was finally drawn by artists, then the manhwa adaptation trailer dropped and I was PUMPED.

I think what really pisses me off even more is that there's barely anything about him in the first place. I live off of scraps. I really only read the manhwa for him if I'm being honest, I prefer the novel ORV. I've waited for so long for him to finally appear in future chapters again, and when he does come back, he's completely unrecognizable!

It's not even the fact that HMO got redesigned, it's the fact that he looks like a completely different character! What happened?! That's not him, who is that?!

Like, just put yourself in my shoes for a second. Imagine Yoo Joonhyuk disappearing for the entirety of the manhwa adaptation and then when his long awaited comeback is here, he suddenly has long white hair, blue eyes, a chiseled jawline and a completely different outfit, like- you see where I'm coming from, right?!

I'm genuinely so distraught over this lmao, like /gen /extremely neg.

With that out of the way, I've processed this loss for a long time now and I've accepted the fact that I'll never see "Han Myungoh" in the manhwa ever again. I will love both designs even if I favor one more than the other, because it's Han Myungoh and I love Han Myungoh. I'll love him even if he was a worm.

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[astroismypassion]

Astrology observations from real life 🪷🪷🪷

Credit goes to astrology blog @astroismypassion

A few in my mailbox asked me to post about astrology playing out in real life. I still have to preface that the view is mostly based from the viewpoint of my own individual Natal chart. So it’s coming from a perspective of Taurus Sun, Aries Moon, Scorpio Rising.

🪷 For me 8th house Synastry with Cancer or Taurus, Libra over the 8th house is not the usual “love or hate connection” at all. So this is one thing I definitely didn’t relate. I think love hate dynamic could be perhaps more prominent if you have a malefic, Capricorn, Aquarius etc. over the 8th house. So I have Cancer over the 8th house. And best I could describe 8th house Synastry with Cancer placements is “failed attempts”. I really like them, but nothing ever gets of the ground with them. I had already someone’s Cancer Sun and Mercury in my 8th house and another person’s Cancer Sun, Venus, Mercury and Mars in my Cancer 8th house. Each Cancer was completely different, but there was usually a pattern I noticed, that after 3 years of knowing them, there is usually a breaking point and it’s always after 3 years. They either rejected me, friendzoned me or weren’t looking to enter a committed partnership. So technically, on paper is nothing particularly wrong in the 8th house Synastry, just stagnant and not much happening and the connection just never got of the ground to begin with. So that’s why I don’t really understand the 8th house love or hate thing. I would say we are pretty neutral toward one another and don’t hate each other, but aren’t in love either.

🪷 Aquarius Moon can end up being quite narrow-minded in a way that they have hard time fully accepting the other’s perspective, but only their own. That’s why sometimes having a conversation with them, doesn’t feel like a dialogue, but more so like they are in a monologue with themselves. Some can end up being quite preachy, because of that.

🪷 In my experience Taurus Moons, natives with Taurus IC are some of the most secure individuals. Because they have the needed self-love and most that I have met don’t even feel the need to start a partnership, just because they are just so comfortable on their own.

🪷 Pisces Moon can either be incredibly intuitive, compassionate or really mean “in the name of the truth”. But I feel like you have to know them for years, before it really becomes apparent how blunt, truthful and sometimes mean they actually are. They can kind of be unhealthy towards themselves by not believing they are capable. But also have the ability to negatively influence others with their negative mood as well. They are really observant and good listeners, therefore often times they choose words that know will sting you.

🪷 I noticed that stereotypically labelled as “players” when grown up, Aries Moon men, even Moon aspect Mars natives, appear that way only in adulthood. But what I found, that in childhood/teenage years they were often ignored by women or didn’t receive much romantic attention at all. They were rarely picked or chosen. So later they seem to quite enjoy the attention. I’d say maybe it’s the same for Aries Moon women? I don’t know, but Selena Gomez (Aries Moon) did talk about how boys were never interested in her when she way much younger, that she didn’t receive much romantic attention.

🪷 Libra Chiron people have strange behaviour. They still pursue people who rejected them and fall even deeper in love. Like what?? You guys deserve reciprocal love and not this one-sided thing.

🪷 Scorpio Rising, Pluto in the 1st house native is really one of the realest people you meet out there. They become so open and honest about life with time and in adulthood. They are not pretentious at all and I noticed they even don’t mind if they embarrass themselves a bit, as long as they are being authentic and living their own truth and purpose. A lot of them also went through a major breakthrough in life (dropped out of education, lost an important job etc.) and that launched them in a totally new life direction, career path, where they end up being successful then. They are very artistic, even though they appear logical, excellent problem solvers too.

🪷 Natives with Moon at a Leo degree (5, 17, 29) low key are Cancer Suns. I noticed you have troubled love life, because you get taken advantage of your kindness and you are genuinely so nice. I wouldn’t say this rings true too for Leo Moons or Moon in the 5th house natives (you more so attract rather selfish people).

🪷 Libra Moons probably rarely saw the conflict resolution between parents, so many of them are so conflict avoidant (are even scared to have tension) in a partnership, because deep down they didn’t really learn conflict resolution and don’t know how to solve it.

🪷 Cancer Moon men desire a wife, a housemaker, a best friend, a lover, a wifey in one person. They often secretly wish for a very traditional marriage. But to be fair, they probably had parents that were married for years or married couple goals, so they had role models and want the same for themselves.

🪷 A lot of Scorpio Risings or Pluto in the 1st house native have this idealisation with wealth going on. A lot of them dream of extreme wealth and are very money, financial stability oriented.

🪷 You really get along with someone who has their Rising sign in the same sign of your 11th house. For example: you have Scorpio over the 11th house, you could have a good chance to get along with Scorpio Risings.

🪷 Libra Chiron don’t find themselves attractive. But y’all are models for real. So so many people find you very conventionally attractive.

🪷 Aquarius Eros people can have a tendency to be so random. And you guys love love surprising others. Just not the other way. 😂 You dislike surprises. But I don’t find the stereotypes of being into “group sex, threesomes, kinky af” true at all. Most of them are oddballs with specific humour and often postpone intimacy, because they prefer touching people with their words. They really like hangouts and long talks over physical intimacy or touching. A lot of them also don’t understand why people rush intimacy so much. They like to take their time. However, they are into connection with people that has proved time. The longer they have known you, the more they are likely to consider you an intimate option. They really like people that stick with them or have been in their life for years.

🪷 Pisces Descendants doesn’t come across to me as delusional. Instead quite controlling towards the actions of their partner. They are idealistic about love and want their partner to act accordingly with their wishes. So they get “their way” by presenting themselves as a hopeless romantic.

🪷 Cancer Moon, Moon in the 4th house both men and women often feel like they can’t protect or defend themselves in the world. So they are often attracted to “protector” type of partner. However, the potential downfall of not learning how to protect themselves is falling into a parent child dynamic with their partner (with Cancer Moon, Moon in the 4th house native acting as a child).

Credit goes to astrology blog @astroismypassion

[trace9091]

[kenyummy]

Grahhhh I love whenever Damian is the most likely to start liking neglected!reader because it's so fun yk, contrasting what the other batfam would think in a way? Iykwim

YES I GET UU!!! it's always so fun to me whenever damian is the first to begin actually bonding with a previously neglected reader; because it's something you wouldn't really expect from him.

a closed-off child who holds little people so close to his heart, and a deadly assassin raised since birth with the idea that it is him, and only him, against the world. like a stray, he hisses when you get too close and doesn't accept the mushy love offered to him because damn it, he's better than that.

but he also feels a sense of duty. seeing you bleed out, chest rising and falling erratically and a lost expression on your face; he knows it. in this world, blood runs thicker than water. in this world, you are his and he is yours—because in the end, blood is all he has.

and he cannot stand to see it drip out of you, liquid life falling from your body when it never should have.

and, spoilers; his viewpoint is challenged during chapter 5 prettyyy hard.

basically how he sees you and frankin—

my shaylas 😭😭😭💔💔💔💔

damian is my fav so im def doing a lot with him. this fic isn't too heavy on the yandere stuff but it's more about the balances between spidey and their relationships more than the fam going a lil crazy

I love me some good parallels mhmmmhmmmmm thank you for asking bout him lovely 🤭❤️

[luna-azzurra]

Give your protagonist flaws.

Some examples of character flaws that can add humanity to your protagonist

Stubbornness

Stubbornness can cause your protagonist to cling to their viewpoints, even when they know they are wrong, often leading to conflicts with others. This trait can create dramatic tension and drive the narrative forward as the protagonist struggles with the consequences of their inflexibility.

Michael, a seasoned detective, refuses to consider new evidence that contradicts his initial theory about a case. His stubbornness leads to conflicts with his team and delays in solving the case.

Impatience

Impatience can make your protagonist demand immediate results, struggling with long-term goals or slower processes. This flaw can add layers to their journey, showing the difficulties they face in learning the value of patience and strategic planning.

Celeste, an aspiring entrepreneur, rushes the development of her new app, pushing her team to the brink. Her impatience results in a product that is not ready for launch, jeopardizing her startup's future.

Self-Doubt

Self-doubt, despite evident skills and achievements, can impair the protagonist's decision-making and actions. This internal conflict adds a relatable dimension, making their journey toward self-acceptance and confidence compelling.

Jordan, a talented musician, constantly questions his abilities despite receiving praise from peers and critics. His self-doubt hinders him from seizing opportunities that could advance his career.

Short Temper

A short temper can cause your protagonist to react aggressively to provocations or challenges, creating interpersonal issues. This flaw can drive subplots involving reconciliation, personal growth, and the learning of emotional control.

Maria, a brilliant surgeon, often lashes out at her colleagues and patients under pressure. Her short temper strains her professional relationships and threatens her career.

Selfishness

Selfishness can lead the protagonist to place their own needs and desires above others, costing them sympathy and support. This flaw can create opportunities for the character to learn empathy and the importance of selflessness.

Chris, a charismatic lawyer, often prioritizes his career over his family, missing important events and neglecting relationships. His selfishness alienates those who care about him, forcing him to reevaluate his choices.

Arrogance

Arrogance can make your protagonist overestimate their abilities and underestimate challenges, leading to dangerous or embarrassing situations. This flaw provides a platform for the character to learn humility and the value of listening to others.

Mandy, a top student, dismisses her classmates' ideas during group projects, believing she knows best. Her arrogance leads to friction and eventually to a significant mistake that humbles her.

Trust Issues

Trust issues can make it difficult for your protagonist to trust others, hindering teamwork and relationships. This trait can create tension and development opportunities as the character learns to open up and rely on others.

Liam, a former spy, finds it hard to trust anyone due to past betrayals. His trust issues complicate his relationships and collaboration with a new team.

Perfectionism

Perfectionism can lead your protagonist to set unrealistically high standards, never being content with their or others' performance. This flaw can drive stories about the struggle for balance and acceptance of imperfection.

Olivia, an artist, is never satisfied with her work, constantly striving for an unattainable level of perfection. Her perfectionism causes stress and burnout, affecting her creativity and personal life.

Fear of Change

Fear of change can make your protagonist cling to the familiar and avoid necessary or beneficial changes. This resistance can create narrative tension as they are forced to confront and adapt to evolving circumstances.

Jamie, a successful business owner, resists adopting new technologies or methods in his company. His fear of change threatens his business's relevance and growth.

Haunted by the Past

Being haunted by past mistakes or traumas can influence your protagonist's present behavior and decisions. This flaw adds a rich backstory and provides a path for emotional development and overcoming personal demons.

Zack, a war veteran, is haunted by his experiences in combat. His traumatic past affects his current relationships and decisions, leading him on a journey of healing and redemption.