#i'll give u one guess

[ghstslut]

i'd like to let, let ur bed get to know me

[helianskies]

guess who's now going to the panto with a bunch of school kids bc they needed the extra help and i can't say no to my mum

[ame-to-ame]

extremely self indulgent btr doodles <3

once again drawing the band members mostly from memory;;

[gotchibam]

Does anyone here draw in both desktop & mobile? I'm planning to get a galaxy tab at some point and since I don't really have any experience drawing on a (mobile) tablet, I'm curious abt how it feels to draw on one vs. drawing on pc w/ a graphic tablet 🤔

[i-tzi]

POKEDDEXY DAY 1: BUG TYPE (#988)

Another year, another Pokeddexy!! 🎉

I honestly don't know how much I'll be able to combine because objectively January is kind of a shitty month for me lol

But WHO CARES, enjoy my boys, see you again at the end of the challenge if I'm still alive lol o|-<

[bunnihearted]

i've also realized that there is no therapy that can fix what's broken inside of me

[coldercreation]

oh

i think i... finished it?

[djevelbl]

Storytime bc I can NOT keep this shit to just myself oh my god this is HILARIOUS

Ok so me my mum & dad we're talking about how children are different regardless of where they came from, right? and so my mum launches into a story (you know it's good when my mum, the beacon of memory in our household [seriously that woman forgets NOTHING] launches into a story):

She says as a set-up that my brother had one (1) temper-tantrum when he was preschool age and my father spanked him twice — he never had one ever again.

Then, it was my turn.

One day in preschool I, apparently, didn't wanna go home for whatever reason preschool-aged me thought was adequate for the occasion, and so I proceeded to have a temper-tantrum.

Quick context, I have a shitty ass memory and all I remember from things like preschool are like. two things and everything else I've been told — for example, I've been told many many times how I apparently had a deep seated hatred for this one little plasticy backpack/suitcase type combo that every time I had a temper-tantrum and I happened to bring it to school, bitch wouldn't leave the classroom without being banged against a couple walls at least.

So anyway, it's time to leave and I'm probably making my best impression of a radiation nuke alert going off; my dad's not having it tho — he tells me we're going home. I just wail harder.

Ofc, because he's himself and raised on a different mentality (not an excuse, just an explanation; don't lay harming hands on your kids ppl) he spanks me.

My answer?? I ran beneath the fucking school bus.

NOBODY could get me from beneath that bitch — my dad moved around that thing and I just scurried to the other side like an overzealous lizard, or maybe a rabid and feral raccoon; my grandma didn't even dare intervene, she knew this was a hopeless endeavor.

It took my mom noticing from her at-the-time job — which was close-by so she could sort-of see what was happening — to start leaving and think huh, the school bus ain't going home yet. wonder what's happening to get my havoc-wrecking ass hauled back home.

As my mom oh-so-eloquently put it: "she didn't even wanna go home with (dad), she had a murderous look every time the idea was brought up."

I was apparently basically UNINTELLIGIBLE when explaining the situation STILL FROM BENEATH THE FUCKING SCHOOL BUS, so the convo was something like:

Mom: what happened? Why are you beneath the school bus sweety??

Me: little child rabid noises, crying and screeching, it vaguely sounds like a velociraptor screaming actually

Mom: ok, and what did daddy do?

Me: even more unintelligible screeching oh my god is that even a language???

So yea, I was a rabid little preschooler huh

[dandyshucks]

blinks tiredly. i decide "hm maybe i should try to expand my circle and step outside of it a little, lets go look at the main community tags" and im just greeted with a bunch of edgelords who think saying "fiction doesn't affect reality, don't like don't read" is peak activism and "fighting censorship". head in my hands. this is partially why i do not ever go into the community tags, my nervous system cannot handle blocking fifty weirdos every single day just so i can have a normal experience in the community tags hfdsjkl

[cadavercowboy]

One of the worst parts about being a writer is reading through an outline, getting really excited for the story you've planned out, and then opening a fresh doc just for your brain to shrug its shoulders and go "...okay, now what?"

[enypneon]

when you dial 8008135 ('boobies' for anyone wondering) on that one landline phone in phantom liberty and johnny is like " ... oh, v. " 😒 and he gets increasingly frustrated the more times you type it in asdfds

[bigskydreaming]

Kyle Rayner: if your supervillains aren't cutting it, be your own supervillain and beat yourself up

[red-dyed-sarumane]

pulling up fan art gave me the excuse to save the 2 ive been meaning to for the past week so my aru sekai series fan art archive officially has reached 200 pieces (excluding my own) 🎉🎉🎉🎉🎉👏🎉🎉🎉🎉🎉

[starlene]

starting to feel really complicated about the upcoming Finnish production of Moulin Rouge!

[kae-karo]

do you ever find that a scene you have to write to get to The Next Bit of the story is hard, or boring, or just for some reason impossible to actually write? if so any tips on getting through it?

oooouu GREAT question honestly !!! i think the reality is i have probably three solid methods depending on the Circumstances lmaooo

method 1: just don't write it. easiest method in the WORLD and i think this works best when the thing you have to work on is boring specifically. it could probably do with a little analysis around "how Actually Important is this scene to the story" before making a decision like that, but if you're having a hard time getting excited about writing it (ESPECIALLY in shorter stories) i find 'don't write it' to be the best method in the book. i'd say it's not ALWAYS the right choice, and it probably helps to have a fair amount of experience under the belt to say when and where this method makes sense

-> a variant of this one is the "it doesn't have to be GOOD it just has to be THERE" which looks like instead of writing a whole scene to get a character from point A to point B, or a whole conversation to get to the point of a character saying they're going somewhere, doing something, etc, just...say it. start the next scene with "after walking from A to B, [blah blah blah]" or "[character] can't believe they agreed to meet up here, but here they are, [etc]". i also sometimes do this with inserted little flashback lines in the context of the scene i actually want to write, which gives the added benefit of picking and choosing when and where things are relevant without adding too much additional exposition

the key benefit of 'just don't write it' as a method is if/when you return for editing, there's always an option to add the scene back in. the way i personally edit involves forgetting about the story for like a week while working on other stuff and then coming back, which usually gives me the exact set of fresh eyes i need to decide whether the scene i decided not to write is actually needed or not. sometimes, it rolls seamlessly without it !!! sometimes i'm like damn i really need something in here to highlight what this character's emotional state is before [next scene], and maybe it's that scene i skipped or maybe it's a different thing altogether. either way, 'just don't write it' lets me get to the bits that i AM excited to write, and usually highlights for me whether the scene i'm avoiding is actually needed or not

method 2: like method 1 but a little more extreme, which i call 'write literally ONLY the parts of the story you're excited about right this second and forget about all the stuff you don't want to write cause it's boring/hard/etc'. which is a very long title, but i think it would do numbers in certain circles. this is basically method 1 on steroids and probably benefits from a longer story with LOTS of parts, especially ones you can skip between non-linearly. for me, this usually works for the hard parts especially, because i can build myself into a corner where, when i return to the hard part, i have a lot of clear detail on what has happened before it and what needs to happen in order to make the next parts make sense - usually this is reserved for the "i KNOW I have to write this or the story won't work, i just don't Wanna" type of scenes

method 3: the 'grin and bear it'. what it says on the tin. sometimes you just gotta buckle down and write the parts that suck, cause there are usually gonna be those parts in some places sometimes. what i WILL caveat here is that when a thing sucks to write, it can be helpful to examine why it sucks - what about it is boring? do you not like writing dialogue, or exposition? is there a way to not do the specific thing you don't like but still get the key elements across? would there be a more fun way for you to convey those elements? maybe a nontraditional format like a text message convo or a flashback? when something is hard to write, what makes it hard? is it conveying a character's emotional state? their physicality in the world? their relationships or thoughts on them? is there something about the character's personality you're struggling with that makes the situation challenging to write because you yourself are confused about the character or what's going on? sometimes i legitimately will step back and just type out something like:

character current motivation: [what they're trying to accomplish, do, say, etc in this exact scene] character actual/overall motivation: [in the realm of the entire story, what is their goal? to overcome loneliness? to find peace with their past? to get together with the other character? to destroy everything the hero holds dear?]

anyway this can sometimes be a super helpful mental reset to make sure i'm keeping on track with both the story as a whole and the character themselves, especially when there are multiple characters cause i'll go through and do this for all of them that are in a scene and that can help identify the tensions, what direction things might need to go, who gets what they want and who maybe doesn't, etc. ultimately just a good way to refresh the brain, and sometimes that leads to making a hard scene feel suddenly a lot easier/feel like you know where you need to go next

secret method 4: arguably the even Worse method, which is 'wait it out'. sometimes there's just no getting around the brick wall right this second, and taking a break to refresh your brain by either working on other projects or like, doing something that isn't Creation is a good idea and can help jog things into place to relieve the boring/hard/etc problem. i say this as someone who does not touch grass nearly enough, but touching grass can also be very helpful lmao. and if literally touching grass isn't feasible, just getting out of your normal habits/routines and doing something different can make a difference too

ANYWAY let me just say: i seriously feel this ALL THE TIME lmao. i'm definitely a serial skipper these days (funny as i used to be a very serious 'i must write everything in order or else i'll DIE' type of writer) but it's ended up being quite good (probably?) for my creativity in that it's allowed me to spend more time excited about what i'm writing and less time stressed or frustrated with getting stuck. your mileage may vary, of course, but hope this is helpful!!

[copia]

... just got a ticket to the heavy music awards