thespacebetweenmyribs

[thespacebetweenmyribs]

steddie prompt! steve struggling with his dyslexia and feeling like he isnt smart enough compared to eddie and the kids?

In an effort to, in his words, "convert him to the light side," Dustin had given Steve an armful of what he deemed "essential reading" and sent him away to "learn the ways of the Force."

If Steve didn't like Star Wars so much, he would've made fun of that little nerd.

But, honestly, he's a little grateful. With no more monsters to slay and it being way too cold to venture outside of his house to go swim or play basketball, the books fill up a good chunk of time.

Too good a chunk.

It's taking him way too long to get through them.

He didn't try The Hobbit or Lord of the Rings because those looked way too intimidating. Dune's first twenty pages were boring as shit, and Ender's Game was a lot, to say the least.

So, he's been making his way through A Wrinkle in Time.

Slowly making his way through it. Too slowly.

Steve has been quickly reminded about why he hasn't voluntarily read a book since elementary school, and why he stopped reading the required books in high school.

It's hard. Reading sucks.

He doesn't know how other people get through it when the letters don't make sense and seem to switch, like how "b" and "d" or "f" and "t" look way too similar.

"Whatcha readin'?"

Steve looks up from the book - god, it's probably taken him at least an hour to get through chapter one, hasn't it - to find Eddie in the doorway of the living room.

Guess he's taking advantage of the spare key, Steve thinks to himself, but he's not mad about it, not even a little.

"A Wrinkle in Time," he says, holding up the book so Eddie can see the cover.

Eddie lights up. "Oh, I love that book! I think the last time I read it, I was in, shit, maybe fourth grade?"

Steve knows he didn't mean it, but damn. That hurt a little bit.

He can't even get through a book Eddie read when he was in elementary school?

"What part are you at?"

Steve tucks the book against his chest so Eddie doesn't see how the bookmark isn't very far in. "Not very. Just met Mrs. Which. It's kind of hard to get through-"

"Oh, yeah," Eddie nods. "It took me, like, three days."

"- because the letters keep switching."

Eddie frowns. "What?"

"The letters," Steve says. "Like, they're moving a lot for this book. I don't know why."

Eddie looks at him blankly.

Oh.

"Does that... not happen for you?"

Eddie shakes his head.

Steve huffs out a laugh because of course this would be a uniquely him problem. Of course people like Dustin and Eddie and the rest of the party would like reading, because of course they would be able to do it right.

"I guess I really am stupid."

"It took me three tries to get through my senior year," Eddie says seriously, putting his hand on Steve's shoulder. "Does that make me stupid?"

"No," Steve says instantly. It doesn't. Just because Eddie wasn't good at school doesn't mean he isn't smart. He's a brilliant storyteller and musician, and both of those take brains.

Steve doesn't have a hobby that takes brains because he just... doesn't have enough. Plain and simple. That's how it's always been.

"Ok, then you're not stupid for having trouble reading," Eddie says like it's the simplest thing in the world.

"But-"

"But what? We're all gonna struggle with something. For me, it was school. For you, it's reading. It's why we've got other people to fill in the gaps."

Other people don't fill in the gaps. Steve does. Steve stretches himself thin, makes sure he's everywhere at once to make sure the kids and Robin and Eddie are okay.

No one else can do that because. Well.

Steve has to be irreplaceable somehow. He's gotta be necessary somehow.

This is the only way they need him.

"Get out of your head, martyr," Eddie says, reading his mind. He's not as good at that as Robin is - Steve doesn't think anyone will ever be able to read him like Robin can - but he can still do it.

It's weird, just like Eddie is. Steve's learned to love weird over the past few years.

"Do you want me to stick around?" Eddie asks.

"You can stay, if you want," Steve says.

"I always want to stay with you," Eddie says, and damn if that sentence doesn't take Steve's breath away. "But I figured I'd ask."

So, Eddie lays his head in Steve's lap as Steve dives back into a world of tesseracts and space and time, and when Steve tilts the book down and points to a word that just isn't making sense, Eddie reads it for him.

He doesn't comment on how often he hears the pages flip.

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i will never get over the fact that jensen wrote a song about castiel from dean’s pov. and he called it watching over me AND like…..it’s so fucking romantic????? i think that’s actually one of the most insane things (in a long list of really insane things) that’s happened post finale.

[thespacebetweenmyribs]

As much as I accept the truth of Stiles being Eli's other parent, it is equally hilarious to imagine Eli being utterly fucking baffled by this weird, Polish-speaking, smartassed, magic-using, maybe FBI agent(?) showing up out of fucking nowhere and his dad, his perpetually single, notoriously gameless, still-gets-embarrassed-when-the-checkout-lady-winks-at-him loser (affectionate) dad, starts fucking flirting with him. And the maybe-wizard-maybe-serial-killer flirts back??? Hello???

[thespacebetweenmyribs]

Steve Harrington | Stranger Things 2x03 "The Pollywog"

[thespacebetweenmyribs]

Art Help

I redid this list because broken links 💀

General Tips

Stretch your fingers and hands

Art is for fun

Never too late to start/improve

Tumblr radar! Submit your work!?

Using a tablet

Editing software: pictures & video

Moodboard resources

Comic pacing

Storyboarding techniques

Watercolor

Coloring

Color Theory (not children's hospital)

Resources: coloring things a different color

Gold

Dark Skin undertones

Dark Skin in pastel art

POC Blush tones

Eyes colors

Cohesive Color Palette

Lights and Colors

Human Anatomy

POSE REFERENCES

Eyes: pupil shape, direction

Wizard Battle poses

Romance poses

Shoulders

Tips for practicing anatomy

Proportional Limbs

Skeletons

Hair Directions

Afro, 4C hair

Cane use

Dingle dongles: male reproductive

Clothing

Long skirts

Traditional Chinese Hanfu (clothing reference)

Cultural clothes

CLOTHING REFERENCE

Medieval armor

Sewing information

Animals

Horse -> Dragon

Snouts: dogs, cats, wolves, fox

Foot, paw, hoof

Plants

Blossoms: cherry, plum, apricot, etc

Plants/flowers: North America, Hawaii, Patagonia

More

Drawing references sources

Art tutorial Masterlist

Another art tutorial Masterlist

Inspiration: father recreates son's art

Inspiration: Lights

ART BOOKS

Art Cheats

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My Workout Routine (At Home)

I recently started going to the gym and working out more at home and I struggle to find a lot of good workouts that hit what I'm trying to do so I made my own!

ODD DAYS ARE UPPERBODY

ARMS

30 second arm circles

15 tricep dips

20x2 bicep curls

1 MIN BREAK

CHEST

10 pushups

15 shoulder taps

15 elbow touches

15 wall planks

3 MIN BREAK

CORE

30 crunches

1 minute plank

30 high knees

20x2 mountain climbers

10 burpees

15 bicycle crunches

END WITH FAV CARDIO AS A COOL DOWN

EVEN DAYS ARE LOWER BODY

BUTT

25x2 squats

15 wall sits

15 Russian twists

15 fire hydrants (each leg)

1 MINUTE BREAK

LEGS

20 leg raises

20 side to side lunges

20 calf raises

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Writing Believable Romances

Anonymous said:

I wanted to ask for advice if possible, as for writing the romance between two characters, how do I make it so that it does not look like a forced couple in the story? How can I develop a good bond between them without being able to say that it is something predictable? Honestly, I do not really like how romances are handled in juvenile novels in most cases and it’s something I want to avoid (I’m sorry if my English is bad 😫)

Hey Nony, thanks so much for the ask! (And no need to worry, your English is great!)

Romance is by far one of the hardest things to write; there’s so much to take into account at once and it’s easy to worry about how natural it seems. When done correctly, a well-written romance is extremely satisfying both to write and read, so I’m going to outline a few of the most important parts of romance and try to hit each of your questions.

Opposites Don’t Attract

This phrase? Throw it in the trash. This whole “opposites attract” mentality only applies to magnets. Your the characters involved in this romance shouldn’t be opposites, but complements.

Think of it this way. Character A is creative, outgoing, and stubborn. Now we have Character B, who’s analytical, introverted, and a push-over. Character A’s exact opposite, right? So why wouldn’t they get along with each other?

If these two worked well together, they’d be the exact embodiment of this “opposites attract” idea. However: These characters are literally the exact opposite of each other, meaning they’ll constantly be challenging each other. Character A will want to be in the spotlight where B wants to stay on the outskirts. B is constantly shooting down A’s creative ideas, and A is forcing B to do all these things without any resistance.

Not only will this dynamic quickly get boring and predictable, neither of these characters would see it in their best interest to stay with each other. It’s mentally and emotionally exhausting for these characters to constantly be fighting over the smaller things, so there’s no real reason for them to be in any sort of relationship.

Enter Character C, just as A is back “on the market”. C is passionate and thoughtful, an ambivert with a hint of rebellion. Why would this relationship work better? C shares A’s love for new ideas and is fine with both a night on the town and a night spent watching Netflix. The personality traits of A and C now complement each other; they agree on some things and argue on others, but because of their dynamic it’s much easier for them to work things out.

If you want a natural relationship, start it in the character development stage. Have one character fully developed and develop their to-be partner; don’t make them an opposite, but a complement.

Love at First Sight?

This aspect of romantic relationships developing immediately has long been known to be a faulty move, but let’s take that one step further. Now that we��ve gotten this “at first sight” out of the way, a lot of characters are falling madly in love with each other the third time they spend time together. This is also a definite issue.

The key to a good romance is the relationship that comes before it. Don’t take these characters from strangers to lovers; remember there’s a friend stage first. Take this time during their relationship to establish a working dynamic between these characters so the reader gets an idea of how they work together, with or without a romance involved.

Have these characters spend time with each other so they know each other well, give them inside jokes and shared hobbies and other things that would establish the possibility to pursue a romance. When you include a previously established positive relationship, it makes more sense for a romance to bloom. Not only this—it gives the reader an idea that a romance is entirely possible, and gives them the chance to view this pairing (or group) in a positive instead of an unexpected light.

Following this path—which is probably a good idea—makes it a little difficult to make it “unpredictable”. In searching for unpredictability, you run the risk of launching your characters from strangers (or acquaintances) to lovers immediately. In this case if you want unpredictability, you should be aiming for the natural type.

Instead of launching them into a relationship prematurely, make it a bit more of a slow-burn. Get your readers used to the idea of these characters being friends, and don’t announce the start of their relationship with any sort of grandeur. By creating a natural transition from friends to lovers, maybe through an absent-minded kiss or exchanging “I love you”s and realizing it later, the whole thing is more natural. 

In taking this path, you still keep the element of surprise; the whole thing happens so naturally that while the reader may have been expecting it but not expecting it right then.

Avoiding the Juvenile

You also mentioned that you don’t like the way more juvenile romances are handled. I think I hit both of your questions, but just as an extra measure I’m going to add in a few ideas to avoid the juvenility (is that a word? it is now) that we see way too often.

They communicate often, and communicate well.

They spent a lot of time together.

They don’t bottle up negative (or positive) emotions.

Accentuate that they have each other’s back.

Highlight their knowledge of the details (as in remembering little conversations and schedules).

Mutual. Respect.

Show them supporting each other’s endeavors, even if it means having less time to spend together.

Avoid writing characters who try to change each other.

They also take time to themselves to collect their thoughts and just have a personal moment.

All boundaries are respected.

If you want to write a mature relationship, think respect. Does this aspect of the relationship lack respect? If it does, seriously consider changing it if you want this to be a long-lasting thing.

Tl;dr—A natural romance between your characters should be compromised of at least three things: Complementary characters, an established dynamic, and mutual respect.

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Writing Slow-Burn Romances

@not-the-girl-u-think​ said:

Hey Abby! Any tips for a slow burn romance??

Let’s start with a little thingy first: slow-burns, when done well, are my favorite thing to read. I love the suspense that comes with them, that feeling when you know they’re going to get to together but you’re on the edge of your seat wondering if it’ll happen anyway. That stuff melts my heart, so I’m really, really happy that you sent this.

What is a slow-burn?

Slow-burns are great because they work both as a main or a subplot. They’re extremely character-oriented romances that take a while (usually an entire book or, in some cases, an entire series) to develop. Oh, and they have a talent for making people like me freak out over every little detail.

From a writer’s perspective, a slow-burn is a pain in the neck. You want everything to go at the right pace with the right chemistry enough that it seems like everything happens naturally. You don’t want things to go too slow or too fast, but you don’t want the reader to be rushed or bored either. Two characters are needed that would making a slow-burn seem worth it to pursue, and there lies the issue.

Creating the Chemistry

This part of the post is going to build pretty heavily on this post about writing believable romances. As you’ve (hopefully) guessed, your main goal for creating a successful slow-burn should be to achieve realism. Creating chemistry between characters is a balance of everything you’ve learned about writing romance.

In order for two (or more) characters to have good chemistry, they have to be compatible. One of the biggest giveaways of an under-developed romance is seeing two characters forced together when you know it wouldn’t happen in real life. When I say “balance”, what I mean is this: your characters can’t only have traits that fit well together, but they also can’t be constantly conflicting. 

People tend to like a challenge, so if their partner or partners just go along with everything they say it won’t become so much fun. However, constantly having to fight against the person/people you’re supposed to be with is physically and mentally exhausting. Once you get to this point, it’s easy to question whether this relationship is worth it.

This balance that you achieve is especially important because it’s one you’re going to be working with all throughout the development of this relationship. If there’s a trait you’re not necessarily “good” at writing, practice is going to be your best friend. You’ll need to know how their traits go together, where they clash and where they blend and where they don’t really act the way someone would expect.

The Relationship “Basis”

A slow-burn, as you know, doesn’t just happen. There are precursors, usually with them starting off as friends or a friend of a friend. Something was there first, and whatever this “something” was will have a pretty large effect on their current relationship.

If they were previously best friends, they’re probably already comfortable with each other. Depending on the length and depth of their friendship, taking it to a romantic level might not change anything other than the addition of kissing and… other activities.

If the previous relationship was based on a mutual dependency, depending on their personalities they might become more less dependent on each other. They might go out and learn/try new things together and use the codependency to help each other out, or they might make an effort to get a little more independent so they’re not constantly relying on each other.

You’ll want to consider how they met in the first place, and why they started talking in the first place. Was it a funny joke, a chance meeting on a vacation, something like tutoring at first? This basis will be the precedent for the relationship, and in my opinion it’s too important to be forgotten about.

Hinting at a Romance

Romance between people happens in weird ways. Sometimes someone points it out or sometimes it happens like in that one Tumblr post where one little thing happens and then it’s there. Sometimes it’s a stolen glance across the room or a game of spin the bottle gone wrong.

When there are situations involving a forcing of romantic interaction, the characters involved are absolutely correct to be made uncomfortable by this situation. I’ve seen too many stories where characters don’t act like themselves in these moments for purely the purpose of bringing in this romance… don’t do that.

What I tend to lean to are weird thoughts about the possibility of a romantic future and those thoughts that hit you unexpectedly. “Woah, I bet A would love this.” Things like that are what I usually do, just because that’s how I’ve always experienced things. If you want to go beyond your own perspective, ask your friends. It could definitely be a weird question, so if you’re not comfortable with that then Google will be your friend.

Everything else in a slow-burn is so character-oriented that there’s not really any more general advice I could give. Thanks again so much for asking, I hope this helps!

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I'm the one who gripped you tight and raised you from perdition. (4x01)

You don't think you deserve to be saved... (4x01)

Can I tell you something if you promise not to tell another soul? (4x07)

I was getting too close to the humans in my charge. You. (4x16)

For what it's worth, I would give anything not to have you do this. (4x16)

We've been through much together you and I. (4x22)

I'm hunted, I rebelled, and I did it, all of it, for you... (5x02)

So, what, I’m Thelma and you’re Louise and we’re just going to hold hands and sail off this cliff together? (5x03)

I’ll just wait here then. (5x04)

What? I like past you. (5x04)

Don’t ever change. (5x04)

I rebelled for this?! So that you could surrender to them? I gave everything for you. (5x20)

Dean and I do share a more profound bond. (6x03)

I wish circumstances were different. Much of the time I’d rather be here. (6x10)

So I went to an old friend for help. But, watching him, I stopped. Everything he sacrificed and I was about to ask him for more. (6x20)

And the worst part was Dean, trying so hard to be loyal, with every instinct telling him otherwise. (6x20)

I’m doing this for you, Dean. I’m doing this because of you. (6x20)

I was there. Where were you? (6x20)

Dean, I do everything you ask. I always come when you call. (6x21)

Don't make me lose you too. (6x22)

I'm gonna find some way to redeem myself to you. (7x01)

You just met yourself. I've known you for years. (7x17)

Part of me always believed that you’d come back. (7x17)

I'll go with you. And I'll do my best. (7x23)

I'd rather have you, cursed or not. (7x23)

Cas, we're getting out of here. We're going home. (8x02)

I prayed to you Cas, every night. (8x02)

Let me bottom-line it for you. I'm not leaving here without you. Understand? (8x02)

I have a price on my head and I’ve been trying to stay one step ahead of them. To keep them away from you. (8x02)

Cas, buddy, I need you. (8x02)

Cas... we're gonna shove your ass back through the eye of that needle if it kills all three of us. (8x05)

...thank you, for everything. (8x07)

Cas...I got you, hold on! (8x07)

...you can't save everyone my friend, though you try. (8x07)

I don't need to feel like hell for failing you, okay? For failing you like I've failed every other godforsaken thing that I care about! I don't need it! (8x07)

I did everything I could to get you out – everything! I did not leave you. (8x07)

Yes, I am with you. (8x07)

I’ll watch over you. (8x08)

Don't get me wrong, I'm happy you're back, I'm thrilled (8x08)

I won't hurt Dean. (8x17)

Cas, fight this! This is not you! Fight it! Cas. I know you're in there. I know you can hear me. Cas… It's me. We’re family. We need you. I need you. (8x17)

Dean, I can go with you. (8x22)

Dean. I'm sorry. For everything. (8x22)

Please man I need you here (9x01)

Cas? Cas!.... Never do that again! (9x03)

Dean, you know I always appreciate our talks, our time together. (9x03)

Nobody wants him here more than I do. (9x04)

Sorry I told you to go. I know it's been hard on you, you know, on your own. Well, you're adapting. I'm proud of you. (9x06)

I came as soon as you called. (9x10)

Cas, you just gave up an entire army for one guy. (9x22)

...everyone you love, they could be long dead. Everyone except me. I’m the one who will have to watch you murder the world. So, if there’s even a small chance that we can save you, I won’t let you walk out of this room. (10x22)

Dean. I don't wanna have to hurt you. (10x22)

No, Dean. Please. (10x22)

It?" It's not an "it," Sam. It's Cas...Cas is family. (11x18)

I could go with you. (11x23)

Morning, sunshine. Some coffee? (12x03)

And Cast—Cas is my best friend. (12x11)

My shy but devastatingly handsome friend. (12x12)

I love you… I love you all. (12x12)

It's a gift, you keep those. (12x19)

And I just wanted, I needed to come back here with a win for you. (12x19)

We’ve lost everything. And now you’re gonna bring him back. Okay? You’re gonna bring back Cas... (13x01)

It’s good to have you back. (13x06)

Cas, you wanna try this angel thing, then go for it. Just don’t get dead again. (13x19)

Dean. You asked "What about this is real?" We are. (15x02)

Cas, I hope you can hear me… that wherever you are, it’s not too late. I should’ve stopped you. You’re my best friend, but I just let you go. ‘Cause it was easier than admitting I was wrong. I… I don’t know why I get so angry. I just know… I know that it’s… i-it’s just always been there. And when things go bad, it just… it comes out. And I can’t… I can’t stop it. No matter how… how bad I want to, I just can’t stop it. And… And I… I forgive you. Of course I forgive you. I’m sorry it took me so long… I’m sorry it took me till now to say it. Cas, I’m… I’m so sorry. Man, I hope you can hear me. I hope you can hear me. (15x09)

You don’t have to say it. I heard your prayer. (15x09)

What my true happiness could even look like. I never found an answer because the one thing I want... It's something I know I can't have. But I think I know... I think I know now. Happiness isn't in the having, it's in just being. It's in just saying it.

I know. I know how you see yourself, Dean. You see yourself the same way our enemies see you. You're destructive, and you're angry, and you're broken. You're "daddy's blunt instrument." And you think that hate and anger, that's... That's what drives you, that's who you are. It's not. And everyone who knows you sees it. Everything you have ever done, the good and the bad, you have done for love. You raised your little brother for love. You fought for this whole world for love. That is who you are. You're the most caring man on Earth. You are the most selfless, loving human being I will ever know. (he smiles, crying now) You know, ever since we met, ever since I pulled you out of Hell... Knowing you has changed me. Because you cared, I cared. I cared about you. I cared about Sam, I cared about Jack... I cared about the whole world because of you. You changed me, Dean.

I love you. (15x18)

Updated to include more quotes. Due to the deluge of script leaks showing edited or censored destiel dialogue, I decided it would be cathartic to collate the dialogue that did make it on the show. Data crunch: Dialogue spoken only by Cas and Dean. 65 total quotes: 34 Cas (52%), 31 Dean (48%).

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becoming an adult cheat sheet!

learn to coupon

what to do when you can’t afford therapy

cleaning your bathroom

what to do when you can’t pay your bills

stress management

quick fix meals

find out if you’re paying too much for your cell phone bill

resume workshop

organize your closet

how to take care of yourself when you’re sick

what you should bring to a doctor’s appointment

what’s a mortgage?

how to pick a health insurance plan

hotlines list

your first gynecology appointment

what to do if the cops pull you over

things to have in your car in case of emergency

my moving out masterpost

how to make friends as an adult (video)

how to do taxes (video)

recommended reads for surviving adulthood (video)

change a flat tire (video)

how to do laundry (video)

opening a bank account (video)

laundry cheat sheet

recipes masterpost

tricks to help you sleep more

what the fuck should you make for dinner?

where should you go for drinks?

alcohol: know your limits

easy makeup tips

find seat maps for your flight

self-defense tips

prevent hangovers

workout masterpost

how to write a check

career builder

browse careers

birth control information

financial management software & app (free)

my mental health masterpost

my college applications masterpost

how to jumpstart a car

sex ed masterpost

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WHY ARE YOU HAUNTED?

A survey

[thespacebetweenmyribs]

Me with my bf

You're in his DMs, I AM his DM. We are not the same. Roll for initiative

[thespacebetweenmyribs]

(Inconvenient) Sentient Object Generator

1d12 Objects

Rusty old sword

Large orb (at least 10” diameter, we’re talking 15lbs minimum.)

Flimsy walking stick

Literal brain-in-a-jar

Dented helmet

Cannon, or other large weapon meant to be on a vessel

Rug

A left boot (the right boot is nowhere to be found.)

Multi-volume encyclopedia

Anvil

Globe

A single crossbow bolt.

1d6 Sources of Sentience (and Wants)

Mad-science/alchemical experiment gone wrong; trapped own consciousness in this object. Wants to return to their lab so they can have you attempt to reverse the procedure.

Cursed into this form by a witch or other entity as punishment for wrongdoings. Wants to find the entity and reverse the curse

Born this way, comes from a lineage of sentient objects. Wants to be owned/wielded by a powerful person.

Mad-science/alchemical experiment gone wrong; was a henchman transformed into this object by their master. Wants revenge.

Magically transformed themself into this form as a way of achieving immortality. Wants a new, young, living body to inhabit.

Was once an inanimate object brought to life by a mage. Has now outlived that mage and wants to find a way to resurrect them.

1d6 Powers - how does the object communicate its wants and exert its will?

Compulsion/possession: the object can force a person who is touching it to perform an action. What can a person do to prevent themself from being compelled?

Telepathy: the object can send telepathic messages in a short range. Are the messages targeted, or does everyone around it hear them?

Limited mobility: the object can move on its own, though not quickly. How does it move? (Does it roll, waddle, float?)

Charm/influence: the object can make a person believe that its wills are the best course of action. What types of people are most susceptible to its wiles?

Speech: the object can speak out loud in one or more languages. Does it know when to keep its mouth shut?

Telekinesis: the object can move inanimate objects, but not itself. What are its limits? (Size? Range? Material? Form?)

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if you are a dungeon master (or even a fantasy author/worldbuilder of any kind) and you don’t know about donjon let me make your life a million times easier

want to make a fantasy calendar with your own year-lengths, weeks, months, and lunar cycles? https://donjon.bin.sh/fantasy/calendar/

need to come up with some medieval town demographics? https://donjon.bin.sh/fantasy/demographics/

want to make a map and layout of a city/town? https://donjon.bin.sh/fantasy/town/

want a fleshed-out tavern complete with menu, innkeeper, patrons, rumors, and secrets? https://donjon.bin.sh/fantasy/inn/

leading your players through a dungeon and want to customize the size, treasure, layout, theme, etc? https://donjon.bin.sh/5e/dungeon/

tired of creating lists of magic items for different shops to sell, or hoards to be looted? https://donjon.bin.sh/5e/magic/shop.html and https://donjon.bin.sh/d20/treasure/

even a customizable initiative tracker! https://donjon.bin.sh/d20/initiative/

and that’s only scratching the surface! I really recommend all dms check this out. oh, and it’s completely free!

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Woe, accessories be upon ye! *tosses rat charm at you*

Wanted to share a couple of the accessories I've made for personal use since they're sorta just rotting in digital storage while my players aren't at the shops they're found in yet. Feel free to use them in your home games!

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𝗹𝗶𝗺𝗶𝘁𝘀 𝗼𝗳 𝘁𝗵𝗲 𝗵𝘂𝗺𝗮𝗻 𝗯𝗼𝗱𝘆 !

body heat — 107.6 F

cold water — 40 F

hot air — 300 F

starvation — 3 weeks

diving depth — 282 feet

lack of oxygen — 11 minutes

blood loss — 40%

high altitude — 15. 000 feet

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Writing Fight Scenes

Here are a handful of tips on how to write intriguing and strong *no pun intended* fight scenes! 1. Give your character a meaning behind their actions. Are they fighting to survive? Are they the aggressor or the victim? Are they defending someone they love or hunting down someone who hurt them? Makes sure the audience knows why this action scene is important to your character. Unimportant and nonmeaningful actions can be boring!

2. Short sentences. Generally speaking, longer more detailed scenes slow the pace of your novel down. This is because the reader has to take more time to read and absorb all the details. Quicker, brief sentences make the pace move faster because there is less for the audience to read. Most fighting happens quickly and instinctively— without too much thought or anticipation. When things are happening fast, we have less time to take in details.

🏃‍♀️ Fast-paced with minimal details: "He punched me in the cheek, my back molars ripping open my fleshy skin. By the time the next punch came, I was already choking on a mouthful of blood."

🐌 Too many details/thoughts that slow down the action: "His large fist hurled towards me with insane speed. I could hardly believe it. He punched my cheek so hard that my sharp, back molars ripped open my fleshy skin. It hurt so bad, but I couldn't stop the next punch from coming. Blood filled my mouth, the irony taste causing me to choke and for my face to wilt."

3. Use all five senses. When adrenaline is pumping, the body can become hyperaware! Touch and sight are the senses that most people focus on... but don't forget about smell, hearing and, taste. Does your protagonist hear dogs approaching? Do they taste the blood from their busted lip?

4. Don't' slow down the pace by adding too much detail. Try to keep an ebb and flow in your action scene. When the action is happening, keep the details quick and short— no one has time to think about their next move when in the heat of danger. However, you can balance the scene out by giving your character a chance to breathe and think and observe

5. Research/study. Watch famous fight scenes in movies or anime to see what is realistic and what is exaggerated. Pay attention to the pacing or what keeps you on edge. When does the character get a chance to think or come up with a plan? What makes this action scene so enthralling?

6. Consider what is at stake. Stakes always make a scene more tense. What does your character have to lose and how does this affect their mental state? Does it aid in their energy, or does it distract them from the fight?

7. Develop characters/the plot. Consider how this action scene will either further your character in the plot or set them back. Does this scene give them a lasting injury that follows them throughout the story, or do they lose an ally that they desperately loved? How does this affect them moving forward?

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