#tell our stories on these walls

[puppyeared]

i wrote this as a joke because I wanted to strangle a guy watching tiktoks without headphones on the bus, but im genuinely disturbed that we've gotten to a point where convenience comes first. and it depresses me even more that its used to justify and monetize greed

[itspileofgoodthings]

also I am not an Austen heroine but I might be if Bingley were a woman and also inherently and of necessity smarter and much further along in my character journey (all love to Bingley)

[hamartia-grander]

Forget about gritting your teeth through someone's media analysis that is egregiously incorrect. Some character/story analyses I see on here are literally just verbatim re-tellings of what happened in the story - the literal things you are supposed to understand, and the connections you're supposed to make to get what is happening - and they're phrased as crazy theories or analyses. And I just want to scream, because no, you're not weird or 'reaching' for coming to that conclusion, that is quite literally the exact thing the story was trying to tell you. You are stating blatant fact as some incredible discovery. Like that person who thought Lucy Gray Baird saying she was 'going to find Katniss' was "an accident" or maybe they were crazy. But I guess everyone's gotta start somewhere, even if you think saying 'did anyone else ever realise that Darth Vader's theme plays when Anakin does something evil???' is some mind-blowing observation. Like, shit, in a world where media literacy is so sorely lacking, quite literally witnessing a story and noticing details of it is considered analysis. Whatever.

[chqnified]

If you ever feel dim. Don't worry. I set off the security alarms trying to open up the office building. Because i was tapping the fob on the aircon/electric unit and NOT the security alarm deactivator

[unexceptional]

— till forever ends ( jb, sr, rb ) 

[do-angels-dream-of-starry-seas]

Been thinking about the ships and I decided on committing to a full-fledged theory for s2 (not a headcanon cause I think I'm onto something):

We got The Revenge, Stede's ship.

We got Blackbeard's ship, presumably Queen Anne's Revenge though the name was never stated in the show.

So now Stede needs some sort of new vessel for the time being, and takes a merchant ship and decides on naming it Royal James ("fits with the R theme").

So what I'm theorizing is

1. Ed's former ship is gonna be called Queen Anne's (Blackbeard's flag wasn't historically accurate until it was...)

2. The Revenge... is gonna sink. Something's gonna happen to it, but either way, they can't stay there anymore when the season ends

Even if they wanted to, it now holds bad memories of it becoming a shell of a ship for Ed's kraken era. And who knows what happens to Queen Anne's, maybe something similar. So now they're left with Royal James, but since they have now finally met in the middle, this can become a complete fresh start for both of them... so they rename it Queen Anne's Revenge.

[orcelito]

anytime people complain about golfers (like real golf, not mini-golf) i think of my rich ex step family where we’d take family trips down to south carolina and every trip without fail there would be a day where all the men would go golfing and all the women & children would just hang around the house. which like i was 100% fine with, i was perfectly happy just hanging out and swimming in the pool or whatever. 

but like. in hindsight. what a fucking Rich Person thing to do lmao

[kalique]

don’t think i don’t still remember in 2009 when my mom embarrassed me in front of eoin colfer 3 separate times

[teratomarty]

My brother is a librarian, and his library is one of the ones that hosts Drag Queen Story Time.

He is also 6'3", 300 lbs of Heavy Weapons Librarian.

This week, some karen showed up to take video of said storytime. She was unmoved by the director of the library telling her their policy against taking video in the children's room.

My brother was also unmoved. Specifically, he was unmoved from his position directly in the line of karen's cellphone. She got video of an acre of blue broadcloth shirt, and that's it.

Other people who showed up to scowl at the drag queen decided they had other things to do that day when my brother scowled at them. He inherited our Mama's scowl, and it's a good one.

Sometimes, an ally looks like a big fat bald white guy. Sometimes, an ally looks like a wall.

[arrowpunk]

Nobody gets to make my wife cry and then get away with it : )

[inkskinned]

no, actually, where is the whimsy?

my ex had a best friend named larry who asked me once: what do you think comes after irony?

we were at the bar where larry worked. it was a quiet night, and he'd hopped over to sit with us on the patron side. i swirled the lemon around my limoncello martini.

earnest positivity, i said, while my ex said, art self-destructs.

i stared at my ex. he stared at me.

his argument was the cinemasins argument: look how bad media is becoming! look at the loopholes and the dumb shit!

it was roughly 2011. galaxy print was still in. at the time, i had a favorite shirt that was a wolf howling at the moon. it got ripped in half in the wash and i honestly still mourn it. i dressed like effie stonem, because everyone did. and irony was the name of the thing. men liked MLP "ironically." the internet liked the kind of crass, "anti-mainstream" vibes of things like fuck romance, touch my butt and buy me pizza. we put cats in sunglasses everywhere, which was because we only liked things in irony.

and media had the same vibe in it: anti-hero white men would be "hard to love" and then storm off the scene. nobody was just earnestly trying to save the world: they were jaded, angry, unoriginal. mad you even asked them to try to help.

my ex ends up not being wrong. cinemasins becomes super popular. a lot of people start viewing media with this lens that is the cruelest, most jaded depiction. it's wrong for your character to have unexplained powers, even if the entire movie is about how strange it is she has unexplained powers - that is still considered a "loophole." characters make thoughtless, panicked choices? loophole. characters are actually kind people, despite hardship? loophole. features a woman doing literally anything without assistance? loophole. movies become hyper-aware of scrutiny, and now irony rules the media.

which means you go to a movie, and the character has to turn to the screen and say "beats me!!" or one of the side characters has to have some kind of quip like "are you seriously telling me that you think this is normal?" because nothing can happen in earnest. like a sitcom laugh track, we now anticipate the fourth-wall break: the moment that the media acknowledges it is telling a story. the media has to apologize for itself, or else someone like my ex rolls their eyes.

but here's the thing: i wasn't wrong either.

the difference might be that i am (and always have been) so soft-hearted that any crack in the light of this world will spear me into the ground. and i was the poet in the relationship. (he thought that was the same thing as being naïve and stupid). i was making things daily. i knew how all of us artists are driven by some strange desire to evolve. he notably liked to critique art, not to create it.

so yes, i've made things that are bitter and angry and even ironic. i've made long, sharp poems with all capital letters, and i've made poems about how the silence stretches out like a song. someone wrote once that we will spend our whole lives just circling the place we grew up. i think it's more that we spend our whole lives trying to remake a home. i think it's that as we age, it becomes less exciting to build the castle on the beach - we become aware of erosion, of windforce. we realize what we really want is to come home to our dog, castle or not.

and while art in the foreground is mired in white male violence and irony, and aggression, and not taking anything seriously - i don't think that's true of all art. i think more and more artists are leaning in to the things we love. the world has changed so much. they have taken so many things from us. the only thing we have left is love. at the bottom of the moving box - all we get is the faint sense that we have to appreciate what little we've got. i can't enjoy this stuff ironically anymore: what room do i have for irony? if it makes me happy, that is an amazing thing. there are so few happy places left for me. i want to be happy because of how leaves shiver beside each other like nestling birds. i want to be happy because of the color pink, and how magenta doesn't exist. i have spent so much of this life suffering, i have earned my right to a gentle ending. if nothing matters, i get to assign meaning to the nothing. i get to create meaning. i am an artist first and foremost, which means creation is my thing.

where is the whimsy? wherever i fucking put it. because if this is my last fucking chance to do any good in this world - i want to do it earnestly. i want to write things that make you happy. that make people feel heard and seen. what comes after irony has to be positivity.

it was close to my 21st birthday. in 7 years, i would end up writing a book about this relationship, which is hopefully coming out somewhere around May 2024. i come back to this bar scene in my memories a lot. i keep thinking of how pale my ex was. the look that crossed his face. how i looked back at him. how for a moment, both of us couldn't recognize the other person. like the gulf between us was a suddenly wide and cavernous thing. like we were alien to each other. he never took my opinion seriously, and he always seemed surprised whenever his manic-pixie-dream-girl ever broke free of the plot. like in the whole time we were together, i wasn't human enough.

this knowledge: where he said nothing comes after, my only instinct was what comes after is love.

[fandomfall]

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[martinmynster]

life could be dream ? well life could be nightmare too

[she-who-fights-and-writes]

“Show, Don’t Tell”…But This Time Someone Explains It

If you’ve ever been on the hunt for writing advice, you've definitely seen the phrase “Show, Don’t Tell.”

Writeblr coughs up these three words on the daily; it’s often considered the “Golden Rule” of writing. However, many posts don't provide an in-depth explanation about what this "Golden Rule" means (This is most likely to save time, and under the assumption that viewers are already informed).

More dangerously, some posts fail to explain that “Show, Don’t Tell” occasionally doesn’t apply in certain contexts, toeing a dangerous line by issuing a blanket statement to every writing situation. 

The thing to take away from this is: “Show, Don’t Tell�� is an essential tool for more immersive writing, but don't feel like a bad writer if you can’t make it work in every scenario (or if you can’t get the hang of it!)

1. What Does "Show, Don't Tell" Even Mean?

“Show, Don’t Tell” is a writing technique in which the narrative or a character’s feelings are related through sensory details rather than exposition. Instead of telling the reader what is happening, the reader infers what is happening due to the clues they’ve been shown.

EXAMPLE 1:

Telling: The room was very cold. Showing: She shivered as she stepped into the room, her breath steaming in the air.

EXAMPLE 2:

Telling: He was furious. Showing: He grabbed the nearest book and hurled it against the wall, his teeth bared and his eyes blazing.

EXAMPLE 3 ("SHOW, DON'T TELL" DOESN'T HAVE TO MEAN "WRITE A LOT MORE")

Telling: The room hadn't been lived in for a very long time. Showing: She shoved the door open with a spray of dust.

Although the “showing” sentences don’t explicitly state how the characters felt, you as the reader use context clues to form an interpretation; it provides information in an indirect way, rather than a direct one.

Because of this, “Show, Don’t Tell” is an incredibly immersive way to write; readers formulate conclusions alongside the characters, as if they were experiencing the story for themselves instead of spectating. 

As you have probably guessed, “showing” can require a lot more words (as well as patience and effort). It’s a skill that has to be practiced and improved, so don’t feel discouraged if you have trouble getting it on the first try!

2. How Do I Use “Show, Don’t Tell” ?

There are no foolproof parameters about where you “show” and not “tell" or vice versa; it’s more of a writing habit that you develop rather than something that you selectively decide to employ.

In actuality, most stories are a blend of both showing and telling, and more experienced writers instinctively switch between one and another to cater to their narrative needs. You need to find a good balance of both in order to create a narrative that is both immersive and engaging.

i. Help When Your Writing Feels Bare-Bones/Soulless/Boring

Your writing is just not what you’ve pictured in your head, no matter how much you do it over. Conversations are stilted. The characters are flat. The sentences don’t flow as well as they do in the books you've read. What’s missing?

It’s possibly because you’ve been “telling” your audience everything and not “showing”! If a reader's mind is not exercised (i.e. they're being "spoon-fed" all of the details), your writing may feel boring or uninspired!

Instead of saying that a room was old and dingy, maybe describe the peeling wallpaper. The cobwebs in the corners. The smell of dust and old mothballs. Write down what you see in your mind's eye, and allow your audience to formulate their own interpretations from that. (Scroll for a more in-depth explanation on HOW to develop this skill!)

ii. Add More Depth and Emotion to Your Scenes

Because "Show, Don't Tell" is a more immersive way of writing, a reader is going to feel the narrative beats of your story a lot more deeply when this rule is utilized.

Describing how a character has fallen to their knees sobbing and tearing our their hair is going to strike a reader's heart more than saying: "They were devastated."

Describing blood trickling through a character's fingers and staining their clothes will seem more dire than saying: "They were gravely wounded."

iii. Understand that Sometimes Telling Can Fit Your Story Better

Telling can be a great way to show your characters' personalities, especially when it comes to first-person or narrator-driven stories. Below, I've listed a few examples; however, this list isn't exclusive or comprehensive!

Initial Impressions and Character Opinions

If a character describes someone's outfit as "gaudy" or a room as "absolutely disgusting," it can pack more of a punch about their initial impression, rather than describing the way that they react (and can save you some words!). In addition, it can provide some interesting juxtaposition (i.e. when a character describes a dog as "hideous" despite telling their friend it looks cute).

2. Tone and Reader Opinions

Piggybacking off of the first point, you can "tell, not show" when you want to be certain about how a reader is supposed to feel about something. "Showing" revolves around readers drawing their own conclusions, so if you want to make sure that every reader draws the same conclusion, "telling" can be more useful! For example, if you describe a character's outfit as being a turquoise jacket with zebra-patterned pants, some readers may be like "Ok yeah a 2010 Justice-core girlie is slaying!" But if you want the outfit to come across as badly arranged, using a "telling" word like "ridiculous" or "gaudy" can help set the stage.

3. Pacing

"Show, don't tell" can often take more words; after all, describing a character's reaction is more complicated than stating how they're feeling. If your story calls for readers to be focused more on the action than the details, such as a fight or chase scene, sometimes "telling" can serve you better than "showing." A lot of writers have dedicated themselves to the rule "tell action, show emotion," but don't feel like you have to restrict yourself to one or the other.

iv. ABOVE ALL ELSE: Getting Words on the Page is More Important!

If you’re stuck on a section of your story and just can’t find it in yourself to write poetic, flowing prose, getting words on the paper is more important than writing something that’s “good.” If you want to be able to come back and fix it later, put your writing in brackets that you can Ctrl + F later.

Keeping your momentum is the hardest part of writing. Don't sacrifice your inspiration in favor of following rules!

3. How Can I Get Better at “Show, Don’t Tell”?

i. Use the Five Senses, and Immerse Yourself!

Imagine you’re the protagonist, standing in the scene that you have just created. Think of the setting. What are things about the space that you’d notice, if you were the one in your character’s shoes?

Smell? Hear? See? Touch? Taste?

Sight and sound are the senses that writers most often use, but don’t discount the importance of smell and taste! Smell is the most evocative sense, triggering memories and emotions the moment someone walks into the room and has registered what is going on inside—don’t take it for granted. And even if your character isn’t eating, there are some things that can be “tasted” in the air.

EXAMPLE:

TELLING: She walked into the room and felt disgusted. It smelled, and it was dirty and slightly creepy. She wished she could leave. SHOWING: She shuffled into the room, wrinkling her nose as she stepped over a suspicious stain on the carpet. The blankets on the bed were moth-bitten and yellowed, and the flowery wallpaper had peeled in places to reveal a layer of blood-red paint beneath…like torn cuticles. The stench of cigarettes and mildew permeated the air. “How long are we staying here again?” she asked, flinching as the door squealed shut. 

The “showing” excerpt gives more of an idea about how the room looks, and how the protagonist perceives it. However, something briefer may be more suited for writers who are not looking to break the momentum in their story. (I.e. if the character was CHASED into this room and doesn’t have time to take in the details.)

ii. Study Movies and TV Shows: Think like a Storyteller, Not Just a Writer

Movies and TV shows quite literally HAVE TO "show, and not tell." This is because there is often no inner monologue or narrator telling the viewers what's happening. As a filmmaker, you need to use your limited time wisely, and make sure that the audience is engaged.

Think about how boring it would be if a movie consisted solely of a character monologuing about what they think and feel, rather than having the actor ACT what they feel.

(Tangent, but there’s also been controversy that this exposition/“telling” mindset in current screenwriting marks a downfall of media literacy. Examples include the new Percy Jackson and Avatar: The Last Airbender remakes that have been criticized for info-dumping dialogue instead of “showing.”)

If you find it easy to envision things in your head, imagine how your scene would look in a movie. What is the lighting like? What are the subtle expressions flitting across the actors' faces, letting you know just how they're feeling? Is there any droning background noise that sets the tone-- like traffic outside, rain, or an air conditioner?

How do the actors convey things that can't be experienced through a screen, like smell and taste?

Write exactly what you see in your mind's eye, instead of explaining it with a degree of separation to your readers.

iii. Listen to Music

I find that because music evokes emotion, it helps you write with more passion—feelings instead of facts! It’s also slightly distracting, so if you’re writing while caught up in the music, it might free you from the rigid boundaries you’ve put in place for yourself.

Here’s a link to my master list of instrumental writing playlists!

iv. Practice, Practice, Practice! And Take Inspiration from Others!

“Show Don’t Tell” is the core of an immersive scene, and requires tons of writing skills cultivated through repeated exposure. Like I said before, more experienced writers instinctively switch between showing and telling as they write— but it’s a muscle that needs to be constantly exercised!

If I haven’t written in a while and need to get back into the flow of things, I take a look at a writing prompt, and try cultivating a scene that is as immersive as possible! Working on your “Show, Don’t Tell” skills by practicing writing short, fun one-shots can be much less restrictive than a lengthier work.

In addition, get some inspiration and study from reading the works of others, whether it be a fanfiction or published novel!

If you need some extra help, feel free to check out my Master List of Writing Tips and Advice, which features links to all of my best posts, each of them categorized !

Hope this helped, and happy writing!

[unexceptional]

OUT. || If you ask Becky who her favorite Avenger is, she’s going to give a different answer each time, and it’s never Steve or Jimmy, because she’s an asshole. 

[ladysharmaa]

My miracle

Anthony Bridgerton x reader

summary: Anthony’s wife is in labor and it’s not looking good

warnings: mentions of death

“Where is she?” the loud voice of Anthony was heard in the entire mansion. The door he opened slammed into the wall but he couldn’t care less as he saw some servants running his way to take off his coat. “Tell me where my wife is!”

“My apologies, my Lord.” the poor man trembled under the Lord’s menacingly glare, that were just a cover for the worry and fear that was running though his veins. “The Viscountess is in your chambers. The midwife and your mother are already present with her. Shall I inform your brothers to come and wait with you until the child is born?”

Anthony didn’t bother to respond. He quickly climbed the stairs, two steps at once, seeing with wide eyes as the maids ran to his room with towels in their hands. He doesn't even settle for knocking, immediatly opening the bedroom door. None of his mother's stories could have prepared him for the sight that lay ahead.

His darling wife was drenched in sweat, dressed in her nightdown. One hand was on her round belly protectively while the other was in his mother’s hands, who was whispering words of comfort. Her jaw was clenched in pain and it was only then that he noticed the midwife between the Viscountess legs. 

“You!” Y/n screamed accusingly, managing to point a finger at Anthony with hatred. “You did this to me! You will never ever put your hands on me again!”

“I-” Anthony was at loss of words. He knew that his wife was in pain, and looking like she was ready to kill, so he just nodded his head in agreement. He took slow hesitant steps towards the bed, hoping to comfort her without dying. “I’ll never touch you again, my love. How are you feeling?”

“How do you think I’m feeling? I’m pushing your child that inherited your big head out of my lady parts! So tell me, my dear husband, how am I feeling?”

“Like you are giving birth?”

“Anthony...” his mother whispered while shaking her head in dispair. “You should leave the room. Your brothers must be coming to keep you company. We shall call you when the child is born.” 

“I’m not leaving my wife.” was the only thing he said with firmity, holding Y/n’s hand and kissing her soft skin gently.

She turned to him, a change in her demeanor, eyes full of tears of terror. “I’m scared, Anthony. It hurts.”

“I know it hurts. It’s okay, love. You will be alright and then we will have our child with us.” he whispered. A feeling of guilt washed through him. How could he have made his wife suffer through childbirth? “You are the bravest person I know. So so much braver than me and everyone else. I’m so proud of you.”

"I can't do this. It hurts too much. Make it stop, Anthony, please." Y/n cried.

It was only then that Anthony saw the look in his mother. She was worried, exchanging looks with the midwife. And as much as the Viscount would like to also show his anguish, his first priority was to comfort Y/n. "It's going to be okay, my love. Just a little longer, you're being so strong."

But she no longer had the strength to respond. It was getting harder and harder to keep her eyes open and she just wanted to sleep to escape the pain. Between her legs, an increasingly larger pool of blood was forming. Anthony's eyes were wide and there was enormous pressure in his chest. It felt like I was running out of oxygen, and it only got worse when Y/n finally gave in to unconsciousness.

"What's happening?" he whispered, looking in alarm first at Violet. Afterwards, he turned to the midwife furiously. "What's wrong with her? Help her! Do something!"

"Anthony, you need to leave." Violet advised, trying to remain calm for everyone's sake. Anthony was becoming more and more desperate, tears falling from his eyes as he grabbed his wife's hand tighter and brought it to his lips.

"I'm not going anywhere!"

"Viscount Bridgerton, the baby is in pain. You won't want to see what I'm going to do. I promise I'll try to save both of them." the midwife said, taking a small knife and flying it over Y/n's stomach.

"If you need to choose, save my wife's life." Anthony begged, now more desperate as his mother called his brothers to take him out of the room.

"Anthony..."

"No, mother, you save my wife's life!" Benedict and Collin grabbed the man by the arms and began to carry him outside, despite Anthony's struggle. "You hear me! My wife is going to survive! Let me go! Mother, save Y/n!" he shouted before the door closed in his face. 

The last thing he saw was the woman making the cut on Y/n's stomach, who woke up with a jolt. She then let out a scream that would torment Anthony for the rest of his life.

With a cry of anger mixed with sadness, Anthony broke free from his brothers' grip and put his hands to his face. He didn't want to think about the possibility of losing the love of his life. He simply couldn't take it.

"Wow, Anthony, calm down." Collin whispered when Anthony, in a rage, threw a punch against the wall. "The Viscountess is a fighter. If anyone is capable of overcoming this, it's her."

"You don't tell me to calm down, Collin. Not when my wife is in that room fighting for her life over something I did." he cried, jaw shaking and eyes red that only showed the immense pain he was in. He sat on the floor, leaning his head back and looking at the ceiling. "I need her to live."

"And she will live, brother. I will bring a drink, and we will wait together for news." Benedict said, rushing to bring the alcohol when Y/n's screams became louder.

On one hand, each scream was like a stab in the heart of Anthony, who was increasingly pale and looked like he was going to vomit at any moment. On the other, it was the only way to know she was alive.

Moments passed. The Viscount didn't know if it had been seconds, minutes or hours. Things seemed to be getting mixed up in his mind. Nothing made sense, not when the love of his life was in the next room in pain and he was away from her. He had to protect her, it was his obligation as a husband. And he failed.

And then came the moment when Anthony's heart stopped. A baby's cry was heard, and he allowed himself to smile a little. He had a son or daughter. A mini version of his wife. And then he burst into tears when Y/n stopped screaming and everything became too silent.

It was uncontrollable. He cried without being able to stop, making it even difficult to breathe in. Anthony refused to believe that he would have to raise this child without Y/n. Without her affection, her kindness, her love. He didn't want to open his eyes and realize that all this wasn't a nightmare, but reality.

Benedict and Collin didn't know what to do. But one thing was certain, they would be there to help Anthony with whatever he needed and never let that child forget the wonderful mother he had. Then, Violet left the room holding a pile of blankets that held the baby.

"You have a daughter, Anthony."

He just cried more. His body was shaking and he couldn't even look at his mother and the baby. "Y/n... Is she...?" He took Violet's silence as a yes. "Oh god..."

"Enter the room, Anthony. She is waiting for you."

Anthony had never stood up so quickly in his life. He quickly opened the door, stopping momentarily when he saw the amount of blood on the sheets, but the most important thing was Y/n's half-open eyes. She was alive and looking around the room in confusion.

"Anthony? Where is my baby?" her voice was hoarse and extremely weak.

The man fell to his knees at the edge of her bed, and lowered his head to rest on her chest. A feeling of relief spread throughout his body when he felt the rising and falling movement of her chest, indicating that she was breathing and that it wasn't just his imagination.

"I love you so much." he cried, feeling her hands start stroking his hair. "I'm sorry. You were so brave and strong. I'm so proud of you, my love."

"Where is my baby?" Y/n didn't want to seem like she didn't appreciate Anthony's words because that was a lie. He was the most important person in her life. But at that moment, Y/n just wanted to know where her baby was.

"She's right here, dear." Violet reassured with a smile, announcing her presence.

Very carefully, she passed the child into the arms of her son's wife, her smile widening as the little family was finally together again. The new parents had a gentle smile as they looked at their creation, a new love emerging for this fragile human being.

Anthony kissed Y/n's temple. "We have a daughter."

"She is beautiful."

"She takes after her mother." Anthony quickly said, never feeling so much love as he did in that moment. 

He was extremely proud of Y/n admiring her strength and courage. Now, he was going to protect his two girls until the end of his life. Nothing was more important than his family.