#d woolf

[rotting-ink]

*giggles and twirls my finger through my hair* Sooo, do our lovely LI have any kinks and what are they?

oh lots but we gotta keep it short and snappy, dont we?

Book 1:

L Rawlins- It's a secret, but Primal Play. They act like they're too in control and good to want to resort to animalistic ways but god, they're so repressed and would love to fuck the MC in werewolf form.

Seir- Worshiping but in a humiliating/degrading way. Cooing at their master for their lovely hole, their pretty chest, perfect for being used, all the while dragging their claws over their sides.

V De Winters- Big part is knifeplay. They enjoy watching you squirm as they press the cold blade against your skin, but wouldn't want to hurt you. Also loves watching you squirm against restraints.

Z Chambers- They adore sensory play. They're also a switch, so if you want to take turns being blindfolded, they're ALL for it. Also gags, bondage, anything that adds to the experience.

S Della Rovere- Public sex. If they're not allowed to tuck their hand into your undergarments in the corner of a bar, then what's the point? They love risky sex.

Book 2:

Saleos- Petplay. They want to be the one in charge of taking care of you, they want to become the master and you their familiar. They want you in a collar at all times, even a subtle one.

Starling Knight- Clothed sex, usually semi public that's rushed. They're busy but god, they could kiss you if you come visit them and you two can have a quickie.

A. Lancaster- Predator and Prey. Look, they help hunt down the Witch. What makes them think that A doesn't want to do the same in a relationship? You get an hour to escape into the forest or the town. And no matter what, they'll truss you up and have their way with you. Safeword and tap system in hand though.

Book 3:

Quincy Beaumont: God, what AREN'T they into? They're the kinkiest. They love toys, they love public sex, they love all pleasure. But most of all, they love marking. They need you covered in hickeys and bites at all times.

D. Woolf: Slow, intimate sex. They're not that kinky, and in fact, the most submissive of the group. Just use them. Use them however you want. Fuck them, sit on their face, ruin them. Please.

E. Rawlins: They love taking you to extremes. Edging to overstimulating. Scenting you by rubbing their cum into your skin. Biting and making sure to ruin you for anyone else.

[officialkendallroy]

am i 22 years old and bought a plushie of a sloth dressed as a vampire today? i sure did!

[insertmeaningfulusername]

Thank you for the tag beloved @loverboy-havocboy 💙

Favorite color: Big fan of yellow and orange right now :D

Currently reading: A Room of One's Own by Virginia Woolf... theoretically. I've been parallel-reading a lot of other books.

Last movie: The Pod Generation I think??

Last song: Viva la Vida by Coldplay (we're singing it with the choir)

Last series: M*A*S*H (:

Currently playing: I don't play viddy games 😔

Currently working on: Too many damn things but I'm just gonna mention my Clonebang fic because it's supposed to be my top priority askfdjadslfjdsakl

No pressure tagging @si-fii @veradragonjedi @mars-attacking @starrrgazingbunny @doublechocolate @synthwwavve @nightbirdz @materassassino @ninjigma @xiarem-blog

[artemismatchalatte]

My head fucking hurts because I just finished my final paper for my grad class. I'll tumblr summarize it in a fun way:

My paper boils down to D.H. Lawrence screaming about a confusing communist but weirdly sexist utopia. No social classes any more but women, you get back in the kitchen now so men feel better about themselves...(I wish I were kidding, but I'm sadly not).

In response, Radclyffe Hall is yelling about lesbians and how her butch Stephen Gordon is a better protagonist than the caveman Mellors (and she is).

Meanwhile, Virginia Woolf is quietly suggesting bisexual women exist with her kiss between Clarissa and Sally in Mrs. Dalloway. She's whispering behind Hall's yelling, just to see what happens.

People are too distracted by Hall yelling at Lawrence and everyone in general to properly notice Woolf's suggestion.

Lawrence starts crying because Woolf and Hall are both 'new women' who don't like him and never will... MODERNISM!

[xx0yeet-everything0xx]

y'all hear the word "androgynous" and think about gender stuff while im hearing it and instantly thinking of my literature teacher who (and i say this with love) would simply not shut up about virginia woolf's androgynous mind, we are not the same

[rainparadefromhell]

JUST PASSED A REALLY HARD LITERATURE EXAM ON MY FIRST TRY OH MY GOD

[dust-archive]

Here are my stats. Pls send book recommendations 🙏❤️

[day-rp]

Tag Dump: Canon Characters Pt.1

[hellowoolf]

CANT WAIT TO READ UR NEXT FIC I LOVE UR WRITING

AAAAA sweet anon thank you so much !! i’m really nearly finished on this mando one shot so hopefully you can enjoy it within the next few days :)🤍🤍⭐️⭐️

[coldsteelpen]

The Modernist Trinity

[rotting-ink]

What are the ros ultimate fantasies? If there was no judgement form the witch, what would they want? Whether that's sexual/domestic, just plain fluffy. Their ultimate fantasy

L Rawlins: A family. Found or blood, they don't care. Yes, the pack is a family, a big family, but they want an immediate family, the one they wake up to every day, the one they care for in the morning before they head off to make sure the rest of the family is okay and is thriving. Will have blood kids or adopt kids with you, or even lets you bring in your friends to live with them, as people you consider siblings or such. If not kids, lets get a shit ton of puppies then.

S Della Rovere- To head away from how cute L is, S just wants a week long fuck fest, you two drinking each other's blood, and fucking the days away.

Z Chambers- ... They want to come back to life and give you a proper life, but what can we do? Will settle for getting to go invisible mode and seeing if they can fuck you semi publicly.

V De Winters- Wants to forget their entire life for a day. Help them forget until they have to go back home. They want to feel completely safe and alone with the Witch.

Seir- Honestly, they don't have that many fantasies. Just scritch under their chin and they're happy.

Saleos- Let them treat you like a pet for a whole day. Completely in charge of what you do and wear and everything. Happiest mink in the west if you do it.

Starling Knight- No work. No work for a weekend. No hospital, no morgue, not first aid. They can sit, quiet and relaxed. Gets to catch up on reading. Fresh tea, not cold. Lies against you or you lie agaisnt them. Bigger dream is to escape for a month to Egypt. Let them go home man.

A Lancaster- Truly? They gave up fantasies and the future for their order. But let them predator and prey chase you down for a bondaged fuck fest in the woods, and they're pretty damn happy.

E Rawlins- fucking and kissing and sucking and fucking and cuddling and and and and

Quincy Beaumont- Let them plan the perfect weekend. Serenade you. Take you to the most expensive places to eat and spend your nights at parties, usually masquerades. Then have slow sex at home.

D Woolf- Just.. Be with them. They want to live with you, spend all day with you. Show their research to you. Read together. Cook together. They want domesticity and no anxiety.

[angrelysimpping]

I'm being normal abt Aguilar in inky's dms and no one can prove otherwise

[luteal-phase]

keep yourself comfy and fresh and darkly shining!! do not query, radiate—or don't! allow him the dignity of his sex. you have a room of your own and nothing to be afraid of. no stress and no shame. yes, you will trust and depend on a man. silly girl, he does not think less of you for that!

[petalsandpurity]

Duchess of Malfi (my 2nd fave play) at the Globe ?!!! Brb buying tickets rn

[artemismatchalatte]

Books for my Modern Brit Lit Course in my Grad program. 

[supersoakerfullofblood]

Point of View: the Biggest Thing You're Missing!

Point of view is one of the most important elements of narrative fiction, especially in our modern writing climate, but you rarely hear it seriously discussed unless you go to school for writing; rarely do help blogs or channels hit on it, and when they do, it's never as in-depth as it should be. This is my intro to POV: what you're probably missing out on right now and why it matters. There are three essential parts of POV that we'll discuss.

Person: This is the easiest part to understand and the part you probably know already. You can write in first person (I/me), second (You), and third person (He/she/they). You might hear people talk about how first person brings the reader closer to the central character, and third person keeps them further away, but this isn't true (and will be talked about in the third part of this post!) You can keep the reader at an intimate or alien distance to a character regardless of which person you write in. The only difference--and this is arguable--is that first person necessitates this intimacy where third person doesn't, but you still can create this intimacy in third person just as easily. In general, third person was the dominant (and really the only) tense until the late 19th century, and first person grew in popularity with the advent of modernism, and nowadays, many children's/YA/NA books are written in first person (though this of course doesn't mean you can't or shouldn't write those genres in the third person). Second person is the bastard child. Don't touch it, even if you think you're clever, for anything the length of a novel. Shorter experimental pieces can use it well, but for anything long, its sounds more like a gimmick than a genuine stylistic choice.

Viewpoint Character: This is a simple idea that's difficult in practice. Ask yourself who is telling your story. This is typically the main character, but it needn't be. Books like The Book Thief, The Great Gatsby, Rebecca, Dr. Jekyll and Mr. Hyde, and the Sherlock series are told from the perspective of a side character who isn't of chief importance to the narrative. Your viewpoint character is this side character, the character the reader is seeing the world through, so the main character has to be described through them. This isn't a super popular narrative choice because authors usually like to write from the perspective of their most interesting character, but if you think this choice could fit your story, go for it! You can also swap viewpoint characters throughout a story! A word of warning on that: only change your viewpoint character during a scene/chapter break. Switching mid-scene without alerting the reader (and even when you do alert the reader) will cause confusion. I guarantee it.

Means of Perception; or, the Camera: This part ties the first two together. If you've ever heard people talk about an omniscient, limited, etc. narrator, this is what they mean. This part also includes the level of intimacy the reader has with the viewpoint character: are we in their heads, reading their thoughts, or are we so far away that we can only see their actions? If your story is in a limited means of perception, you only have access to your character's head, eyes, and interpretations, where an omniscient narrator sees through all characters' heads at once. (This doesn't eliminate the viewpoint character--most of your writing will still be in that character's head, but you're allowed to reach into other characters' thoughts when needed. You could also be Virginia Woolf, who does fluidly move through everyone's perspectives without a solid viewpoint character, but I would advise against this unless you really are a master of the craft.) Older novels skew towards third person omniscient narration, where contemporary novels skew towards first person limited. You also have a spectrum of "distant" and "close." If omniscient and limited are a spectrum of where the camera can swivel to, distant and close is a spectrum of how much the camera can zoom in and out. Distant only has access to the physical realities of the world and can come off as cold, and close accesses your character's (or characters', if omniscient) thoughts. Notice how I said narration. Your means of perception dramatically effects how your story can be told! Here's a scene from one of my stories rewritten in third-person distant omniscient. The scene is a high school football game:

“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” She shivered; the wind blew in. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, stuttered there, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” She met his eyes, which he pulled away. “You don’t mean that," Piper said. “Maybe not. He’s too confident, though.” The cloth of Carmen's uniform caved and expanded under Piper's fingers.

With distant-omniscient, we only get the bare actions of the scene: the wind blows in, Piper shivers, the cloth rises and falls, Carmen points, etc. But you can tell there's some emotional and romantic tension in the scene, so let's highlight that with a first person limited close POV:

“Sometimes,” he said. “Not much anymore.” “It’s not better, then?” Frost spread up from her legs and filled her as if she were perforated rock, froze and expanded against herself so that any motion would disturb a world far greater than her, would drop needles through the mind’s fabric. A misplaced word would shatter her, shatter him. “A little.” His tone lifted. “I don’t know if it’ll ever be better, though.” She placed a hand on his arm, thought better, and slipped her arm around his waist. “Did it help to be on your own?” He raised an eyebrow. “You were there.” “Yes and no.” “And the guys, the leaders.” “Come on,” she heckled. “Okay, okay.” Carmen sighed. “Yeah, it helped. I don’t think—I don’t know—I’d be me if they’d fixed it all.” She grinned. “And who might you be?” “Oh, you know. Scared, lonely.” He fired them haphazardly, and a bout of laughter possessed him which Piper mirrored. “Impatient.” “And that’s a good thing?” “No.” He sat straight. “Gosh, no. But I don’t want to be like him, either.” He pointed to the field; Devon recovered a fumbled ball. “He’s never been hurt in his life.” “You don’t mean that.” She spoke like a jaded mother, spoke with some level of implied authority, and reminded herself again to stop. “Maybe not. He’s too confident, though.” Piper felt the cloth of his waist cave and expand under her fingers and thought: is this not confidence?

Here, we get into Piper's thoughts and physical sensations: how the frost rises up her, and how this sensation of cold is really her body expressing her nervous fears; how she "thought better" and put her arm around his waist; her thought "is this not confidence?"; and how she reminds herself not to talk like a mother. Since I was writing from the close, limited perspective of a nervous high schooler, I wrote like one. If I was writing from the same perspective but with a child or an older person, I would write like them. If you're writing from those perspectives in distant narration, however, you don't need to write with those tones but with the authorial tone of "the narrator."

This is a lot of info, so let's synthesize this into easy bullet points to remember.

Limited vs. Omniscient. Are you stuck to one character's perspective per scene or many?

Close vs. Distant. Can you read your characters' thoughts or only their external worlds? Remember: if you can read your character's thoughts, you also need to write like you are that character experiencing the story. If child, write like child; if teen, write like teen; etc.

Here's another way to look at it!

This is a confusing and complex topics, so if you have any questions, hit up my ask box, and I'll answer as best I can. The long and short of it is to understand which POV you're writing from and to ruthlessly stick to it. If you're writing in limited close, under no circumstances should you describe how a character other than your viewpoint character is feeling. Maintaining a solid POV is necessary to keeping the dream in the reader's head. Don't make them stumble by tripping up on POV!