#taco too I guess

[sodatea2024]

It was time I posted my obligatory II fanchildren for those who haven’t seen them yet.

Milk Carton (Payjay) - Penny(Nickloon) - Painty Jr.(Lightbrush) - Wax Sealer (Silvercandle) - Rubber Ducky (Soapmic) - Red Envelope (Tissues x Yin-Yang) - Jalapeño (Pickle x Taco/Pickle x Knife) - Nakiri Knife (Pickle x Knife) - Blueprint (Fantube) - Moldy Cheese (Comedy Gold)

I have pleanty more kids but I was only able to post 10 images so here you go and I might post part 2 later

[flyingbuddiies]

bunch of doodles again!! some of these are kind of old oops

roleswap au designs and concept by @whipedcream <3

[wheucto]

discovered a new way of making things... using the opacity of marker fill and the polygon tool which you can. do whatever with (idk what it's called) you can make this crystalline looking... color thing.

after you have your shape, you can fill in with whatever color, and i think it has full opacity like filling in anything else.

also if you're going to put another color over something else, choose a different color for the shape bc it can go like. everywhere if you try to fill it.

w/o limbs and outline

[wannabe-minion-of-chaos]

Thinking about how in that one stick of truth trailer we could've gotten Giant Clyde in the game...not that I'm disappointed at all with what we got because Clyde leading a dark army with the stick was fucking awesome but sometimes I like to think about what that would've been like

[finexbright]

moving to the UK has made me develop an irrational fear of ordering take out

[megumri]

about to go check out a Latino grocery store tn I'm PUMPED !!

[owen-not-carvour]

in honor of me applying to a new job in an almost dead mall,,

yknow how noel worked at taco bell and Hated it?

i think abt how that means that taco bell was the *best* option out of whatever else there was a lot. like it’s supposedly a mega mall right?? so.. yikes.

either noel is really super picky abt jobs (i mean. valid though) or they literally just have like 6 stores tops outside uranium. not Entirely unrealistic ofc but like. fuck :/

[tubbybabybare]

That feel when you try and make enough tacos to have some for lunch tomorrow, but eat them all in one night instead…

[a9saga]

big brother but the cast is everyone in seventeen

[miss-floral-thief]

Huh surprisingly cheesecake price dropped down

[dokyeomini]

good tacos but the egg tart wasn't spectacular

[damnprecious]

I can't believe I'm actually lowkey excited about going to a work social event today???

[planetpiastri]

Imagine Oscar with an American!reader who teams up with Logan to tease Oscar

pairing: oscar piastri x fem!american!reader [no faceclaim, reader is faceless] summary: oscar should have known what he was getting into when he started dating an american. who are we kidding, he absolutely knew what he was getting into. notes: i'm actually in love with this request as an american girlie myself. there's a lot of jokes here that are inside jokes my friends and i make about f1, so i hope you guys enjoy them too. also as a former tgm blog, this is a little bit of a full circle moment hehe

ynusername

liked by mclaren, oscarpiastri, and others

ynusername USA! USA! RRRAAAHHH 🦅🦅🦅

view all 427 comments

mclaren Thanks for hanging out in the Austin paddock with us! 🧡

ynusername thanks for having me!!

oscarpiastri Wow that caption does not fit the aesthetic at all

ynusername sorry pookie wookie snugglelumps you're my bestest most favorite boy thank u for making me din din❤️❤️

logansargeant LFGGGGGGG

username1 oscar cannot escape the americans first logan and now his gf 😭

oscarpiastri I am in a hell of my own choosing

ynusername

liked by alex_albon, logansargeant, and others

ynusername sorry i ate two taco bell soft tacos in less than 90 seconds do u still think i'm hot

view all 338 comments

oscarpiastri Always ❤️

ynusername AWWWWW logansargeant Get a room

landonorris last i checked, taco bell is not part of his racing diet 🤨

ynusername ssh you didn't see nuthin 🤺

username2 okay but what's oscar's order??

username3 i bet yn and logan ordered for him ynusername correct

oscarpiastri Final thoughts: it was good I guess, my tummy kinda hurts, the best part was the soda

logansargeant Yeah that checks out

oscarpiastri

liked by logansargeant, ynusername, and 157,960 others

oscarpiastri My American girl ❤️

view all 1,743 comments

username3 WAAHH THEY'RE SO CUTE

username4 why is he soft launching they've been together for like 3 years now

ynusername ❤️

logansargeant American boy** silly there's a typo in your caption

landonorris oscarpiastri he wants u fr oscarpiastri I know

liked by oscarpiastri, landonorris, and others

ynusername hi australia 👋 thank u for making my forever person ❤️

view all 604 comments

username5 my 😭 forever 😭 person 😭

oscarpiastri I love you ❤️

ynusername giggling blushing kicking my feet

logansargeant Come back I'm bored

username6 yn showing oscar around california and oscar showing yn around melbourne oh i'm gonna barf they're so cute

tagging: @sonder-paradise bc she helped beta this<3

[bettsfic]

writing cheats

i know i’ve probably written about these all individually but i’m putting them together in one post. these are writing tricks that are extremely cheap and dirty; when you use them it feels like cheating and honestly by posting them i’m probably exposing all the easy moves in my own work, but more than a writer i am a teacher, so here you go, some writing cheats that have never steered me wrong.

quick character creation

what’s really annoying is when you have two characters sitting at a restaurant or something and the server has to come by. to what degree do you describe the server so that it’s clear they’re just a background character but that they’re not just a faceless form, so that the world has texture without taking up too much space on the page? rule of three, babeyyy: two normal things and a weird one.

she had pale skin and blue eyes but her hair was dyed black like a 2010 emo kid.

he was tall and broad, and he wore a sweatshirt with an embroidered teddy bear on it.

the woman stood there comparing the prices of toilet paper. she had a short angled bob and carried a keychain the length of a trout.

why does it work? it gives the reader something to hang onto, a brief observation that shows the world exists around your narrator. it also works when introducing main characters, but there’s so much action going on that you can’t take time to write a rich long paragraph about them. all you need is a little hook.

quick setting creation

i used to TOIL over descriptive paragraphs. for years i was like, description is my weakness, i must become better at developing imagery. i believed this because a famous writer once projected a paragraph i had written onto a screen and asked my cohort, “count how many images are crafted in this paragraph.” there were none. none! my friends were sitting there like, “we are TRYING” but they couldn’t find any.

i would say that after years of studying imagery development at the sentence level, i am, perhaps, competent at it, but what was more helpful was for me to shrug and tell myself, “i’m just not a writer who does that.”

anyway. my cheat is thus: 

there’s not much you can assume about your audience. the audience is not a homogenous whole. but your ideal audience is something you can guess at, and that means you can play around with their existing knowledge and expectations. 

if you say your characters are in a tacky shit-on-the-walls restaurant, if your ideal reader is an american who went to restaurants during the maximalist era of franchise design, they will conjure their nearest memory of one of those places. and for those readers who aren’t familiar with it, they’ll use other context clues to conjure that space. the point is, you don’t have to list every single stupid license plate nailed to the wall. you can leave it as one detail of one sentence and let your reader extrapolate from there.

if i say the dentist’s office looked like a gutted 90s taco bell, maybe no ideal audience would have ever seen a place like that, but a lot of people can mentally conjure a dentist’s office and a 90s taco bell and overlay them together to create a weird and fun image.

you can go even simpler than that: a bathroom the size of an airplane lavatory. a tiny studio apartment with a hotplate instead of a stove. a mansion with a winding stairwell. the point is that you want to define the size of the space and its general vibes.

in some ways detailed description can be overrated, because your reader conjures images even in absence of them on the page. and for those readers who can’t mentally conjure images, it doesn’t matter anyway; they take you at your word. the trick is to figure out what details are unexpected, relevant to understanding the story and its characters, and those are the things that you add in.

one other note: after working with hundreds of writers on drafting, for *most* of us it’s difficult to develop images and establish setting in a first draft. it’s nearly always something to be saved for a second or later draft. i think it’s because while we’re writing we tend to put character and action first.

nail the landing

there’s a joke i heard once from a writer i really admire: “you know it’s literary fiction if the story ends with a character looking at a body of water.”

and god it’s so painfully sad and true how easy it is to nail the landing of a given story by ending on a totally irrelevant piece of imagery. the final beat of a story followed by your character looking up at the sky and seeing a flock of birds in the shape of a V flying past. or maybe they’re sitting in their car and they count the rings of a nearby church bell. or maybe they watch an elderly couple walk down the sidewalk hand-in-hand. i don’t know!! when in doubt shove an observation, an image, whatever, something neutral at the end and it’ll sound profound. 

(this cheat is the only one that can really bite you in the ass because if the image is too irrelevant you risk tonal incongruity. for use only in the most desperate of times.)

sentence fragments

when writers ask me how to punch up their writing or start developing their own style, my go-to advice is to give up the idea of a complete sentence. fuck noun-verb-object. if you have a series of character actions, knock off the sentence subjects like in script action. if the clause at the end of your sentence is particularly meaningful, don’t separate it with a comma but a period and make it its own thing. if your character is going through something particularly stressful or heinous, that bitch is not thinking in complete thoughts so you don’t have to convey them that way. make punctuation bend to your will!!

rhetorical moves

this one opened a lot of doors for me stylistically. remember that famous writer who called me out on my lack of imagery? i always thought his prose was beautiful, that he’s one of the best living prose writers, etc. once i learned more about rhetoric though, i realized he just employed it a lot. 

usually when we talk about beautiful sentences it means a sentence that uses rhetorical devices. the greeks were like, you know what, when we give speeches there are certain ways to phrase things that make the audience go nuts. let’s identify what those things are and give them names so we can use them intentionally and convince people of our opinions.

i love shakespeare, i really do, but one of the big reasons he’s still a household name today and his plays are still performed is because every sentence of every goddamn play utilizes a rhetorical device. the audience is hard-wired to vibrate at the sound and cadence of his writing, like finding the spot on a dog that makes their foot thump. for five hundred years, william shakespeare has been scritching that spot for us.

i have no idea why, cognitively, rhetorical devices are so effective. i’m no rhetorician. all i know is that well-deployed anaphora makes a reader want to throw their panties on stage. my intro to rhetorical devices was the wonderful book the elements of eloquence by mark forsyth, a surprisingly fun read! hopefully that will open some doors for you the way it did for me. 

the downside to this is that once you know rhetorical devices, it’s like learning how the sausage is made. on one hand, as a writer, you’ll have a lot stronger grasp of style, but as a reader good prose loses some of its magic.  

pacing it out

many writers, myself included, rely on the tried and true “he bit the inside of his cheek” or other some such random action to help pace out dialogue. one time my thesis advisor sat me down and said “you’ve got to take all of those out.”

“all of them?” i said.

“all of them,” she said.

i thought, but that will weaken the text! it didn’t. once i cut what i came to call cheek-biter sentences i never went back. and now when i edit for other people i’m like, look i know where you’re coming from but just cut all these out and see how the scene stands. if it doesn’t feel right you can put some back in. a lot of times when you’re drafting you put those in the way some people say “um.” they’re just sentences you jot while you’re thinking of what the other character says, so from a writing perspective it seems like you’re pacing, but readers don’t read it that way. they just want to get to the next line of dialogue.

but sometimes you really do need to pace out a scene and i think there are other ways to do that that don’t rely on banal physical movements, such as:

interiority: a sentence or paragraph of relevant cognition, bonus points if you weave in background context. good interiority defines the voice of your writing.

observations: i know i just said description is overrated but idk sometimes you just need a character to note the back and forth clacking of one of those desk ball toy things.

character texture: maybe your character notes something about the person they’re talking to. a wilted pocket square. a mole that looks like it needs looked at by a dermatologist. a scar on their forehead. some detail that deepens or complicates our understanding of a character.

narratorial consciousness and access

this one is less a cheat and more a problematic opinion i have that doesn’t win me any popularity in writing circles.

i believe that if you’re writing in first person or close third or any narration which is dedicated to the mind of one character, you are only ever obligated to convey the experience of that character’s consciousness. and nothing else.

by that i mean, if your point of view character is unobservant? then they’re not going to even notice the flight attendant is missing one of their canine teeth. if your pov character is focused and obsessive, they’re going to think lavish, detailed paragraphs about that which they’re obsessed with and have no acknowledgement of the rest of the world. if your pov character has no understanding of time, does your story even need to be linear?

defining the scope of a narrator’s cognition early on can give you parameters in which to work. even if you don’t consciously do this, you still do it. if you write in third person limited present tense without really thinking about it, that’s your scope. i’m just pointing out you can choose to do it differently. you get to define your narrator. 

whenever we talk about narration we also talk about information access and the order of information being revealed/conveyed. writing must always be in order; even if you’re writing multiple concurring things, it still has to be rendered on the page in order one after the next, because the human mind can’t read two sentences over top of one another. 

if we’re restricted to the mind of a character, that means we’re also restricted by their knowledge and experiences, and this can be used to your benefit. i don’t want to take too much space for this but i do talk more about the relationship between narration and reality here.

in short, you the writer get to choose 

what the reader knows,

in what order they know it, and

its relationship to the presumed real events of the story, which develops the (un)reliability of your narrator

okay going to cut this off now before i go on more rants about narrative scope. i hope you found this helpful and go on to put some of these nasty lifehacks in your own writing!!

[lowkeyrobin]

HII so I was reading your who you write for and saw you write for Charlie Bushnell, so I was wondering if I could get like reader and Charlie at like the an interview???

Thank you -🍄

hell yeah of course 🙏🙏 ; thank you 🍄anon, hope you enjoy 🫶🫶 ; i dunno how but this got a little off topic?? I apologize

CHARLIE BUSHNELL ; the interview

summary ; youre a journalist, he's an actor

warnings ; language, little cringe kissing scene (totally sfw dw)

disclaimers ; I said "scandalous ankles" because back in the olden days ankles and showing any skin was considered scandalous, for anyone who didn't know. reader is described to be not into fitness stuff, also don't mind me not knowing shit about fitness/weightlifting

word count ; 883

masterlist

"Hi, welc-hum inside." You smile, waving to Charlie as he enters the room. You then cringe at yourself in embarrassment. "Sorry, hi, welcome." You awkwardly chuckle, "I apologize, my words are all tangled today"

"You're good" He waves, a comforting smile on his face. He wears a black t-shirt with a logo in the corner and design on the back, paired with some jorts and sneakers like he just came from the gym. You didn't mind though, you urged your guests to come comfortable over casual.

Video interviews that weren't in front of a live crowd were the best for both of you, thank God. Meeting this Godsend of a man nearly gave you a heart attack. Just looking at his gorgeous eyes and his perfect features, nothing was wrong with him whatsoever. He was genuinely a 10/10.

He sits down in the guest chair across from yours, watching you sift through a desk a few feet away, looking for something. Your dress pants rise at the ankles every time you make a step, revealing more of your scandalous ankles, covered by socks.

You finally sit down, apologizing for taking so long to find your notebook where you held a few questions and conversation starters. The cameras begin rolling, and you introduce yourself and Charlie as per usual.

"So, what's it like being on set, with all the cameras, lights, props, and green screens? What are the action scenes like?"

Charlie lightly smiles as he gives you an answer, using his hands to talk a little bit. He seemed a little tense and nervous, but you didn't point it out or blame him, it took you years to be fully comfortable where you sat.

"What even are you? Cause like, you're an interviewer but also a journalist, what do you prefer being called?" The curly haired boy asks you.

You shrug, "Journalist, I guess. Interviewer could be put like, inside the circle of journalism, I'd say. I'm a journalist before I'm an interviewer"

He nods, giving you a gorgeous smile that you had to quickly look away for. You discreetly hide your flushed face, looking down at your notebook.

You write down some memorable quotes as you sit and chat with him, bringing up some interesting conversation and learning more about being on set and the production behind media.

After the cameras are off, you thank him and invite him to stay for some aftertalk and lunch. You came in with a large bowl of taco salad you needed to finish before it went bad and were offering it to anyone who wanted it. He accepts the offer, staying back in the break room with you to eat some of that salad you'd brought in. In his words, it was very much better than whatever fast food he was going to go get before returning home.

Your conversation quickly turns into one regarding music and working out, although you weren't too into fitness, the occasional jog here and there keeping you healthy, apparently.

You both stand up, setting your bowls and forks in the dishwasher to get them cleaned. You stand against the counter as he leans his hand against it a couple feet away.

He pulls up his t-shirt sleeve, flexing his arm to show off his muscles. He's trying to impress you, mostly, but you had asked how frequently he worked out. Not his fault.

"Usually lift about 145"

You nod, paying more attention to his face than his muscles. Not exactly your question, but you'd take it.

"You okay?" He asks, seeing you zoned out staring at him.

"Yeah, sorry-"

"Am I that handsome to you?" He asks, lightly teasing you.

"Wh- I mean, hey now-"

He lightly giggles, stepping forward a bit.

You stare into his brown eyes, colored like a dark chocolate mocha. A smile tugs at the corners of his lips, seeing your eyes almost glimmer as they stare into his.

He's just a guy, you're an interviewer, a journalist. This is weird, isn't it? Is it not?

"May I?..." He whispers, looking down at your lips, then up at your eyes.

Triangle Theory.

You nod, a soft smile painting your face.

He quickly embraces your lips with his, hands resting on your waist. You melt into his kiss, your bodies tied together. He picks you up, hands resting behind your thighs, placing you on the counter.

You quickly pull away, hands on his shoulders as he stands between your legs. "Okay, what the fuck? Do that again"

He smiles, looking up at you. His arms are now loosely wrapped around your hips and waist area, his curls falling into place like dominoes.

"You're an interesting one"

"Says you, actor guy"

"Don't try and play me at my own game"

You open your mouth to speak, but shut yourself up, seeing the smug look on his face.

He holds your left hand in his right, a slight panic running through both of your heads as he rubs your knuckles with his thumb.

You speak up now, finding your stomach filled with butterflies.

"You make me want to grab a dictionary and manually find the words I'm looking for to describe you and how attractive that was."

He lightly laughs, kissing your hand.

"Whatever you say, journalist"