Freakinfiction - Just A Casual Fan

Maiden Holmes | 少女大人 | episode 23

“I will never leave you again.”

Some Gemology Vocabulary

for your next poem/story (pt. 2)

Gemology—the scientific study of gemstones

Clarity - The grading of a gemstone is based on the presence or absence of inclusions. The fewer inclusions, the better a gemstone’s clarity grade.

Crown - Located above the girdle or at the top of a cut stone, the crown faces up and is in plain view when the gem is arranged in a setting.

Culet - The bottom quadrant or point on a stone with a pavilion that ends in a single point; a bottom facet cut parallel to the girdle on a stone with an otherwise pointed bottom, initially intended to prevent chipping.

Diaphaneity - The general term to describe the transmittance of light through an object. The 3 typical classifications are transparency, translucency, and opacity.

Diffusion treatment - A treatment used to alter the color of a gemstone (mostly sapphires).

Dispersion - The separation of white light into the component colors of the visible spectrum.

Facet - A flat surface on a stone or other media.

Girdle - The line created where the crown and pavilion facets meet, or the series of facets that separate the crown and pavilion facets.

Pavilion - The part of the stone below the girdle, otherwise the bottom portion of the stone.

Sectile - Capable of being cut as into slices or shavings.

Table - A facet on the crown, usually parallel to the girdle. In cases when the girdle isn't a straight line, the table is typically at 90° to the stone's center axis.

Tavernier rule - A method of gemvalue calculation. Price increases by the square of weight of stones. Now obsolete.

Veinstone - Any mineral other than metal which occurs in a vein (i.e., a crack, crevice, or fissure, filled, or practically filled, with mineral matter).

Wisps - Whitish wisp-like fractures resembling thin wind-blown clouds. Occur in some synthetic emerald but never in the genuine.

Youstone - An old English term for jade.

Sources: 1 2 3

More: On Gemology ⚜ Word Lists

REVERSE TROPE WRITING PROMPTS

Too many beds

Accidentally kidnapping a mafia boss

Really nice guy who hates only you

Academic rivals except it’s two teachers who compete to have the best class

Divorce of convenience

Too much communication

True hate’s kiss (only kissing your enemy can break a curse)

Dating your enemy’s sibling

Lovers to enemies

Hate at first sight

Love triangle where the two love interests get together instead

Fake amnesia

Soulmates who are fated to kill each other

Strangers to enemies

Instead of fake dating, everyone is convinced that you aren’t actually dating

Too hot to cuddle

Love interest CEO is a himbo/bimbo who runs their company into the ground

Nursing home au

to everyone else in school right now: 

please use sparknotes. please use khan academy. please listen to school house rock songs and watch the history of the entire world i guess and tim and moby and bill nye. any documentary you watch in class can be found somewhere online with a quick google. get your books from project gutenberg and z-lib. download textbooks off the internet whenever you can find them. use desmos for a free online graphing calculator. if you’re learning something and you don’t get it look up the wikipedia page on it and put it into simple english to get the gist, then put it back into regular english to get the full story. cheat if you have to. school sucks so bad rn and if you’re like me and you get all your materials secondhand or from the lost and found, online resources are really useful rn; all of the above have helped me pass a class in some way, and i hope they can help you too.

stay inside and stay safe. best of luck to all the students out there. 

“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!

I did this instead of writing

cosy ˖˚⊹

! do not reupload/repost anywhere !

The impact of toxic family dynamics in Till the End of the Moon (长月烬明)

A bit random and I have never done character analysis posts so it might not be as good as some other posts on here but bear with me.

I'm watching Till the End of the Moon (ep 25) and the recent development of Ye Bingchang's character into a full blown villain has made me hate her, but also empathize with her in ways I didn't expect.

To contextualise, Ye Bingchang 叶冰裳 is the second child and first daughter of the Ye family, and she is basically the perfect daughter of a noble Chinese family. She's sweet and kind, beautiful but not attention seeking, smart but not a smart ass, dutiful and filial, delicate and thoughtful. She shares a beautiful love story with Prince Xiao Lin 萧凛, the 6th son of the Emperor, so she's going to marry in the Imperial Family and no doubt bring honor to the Ye Clan. She seems to be doing everything exactly right.

And yet she's a second class citizen in her own family, who openly favours her younger sister Ye Xiwu 叶夕雾.

Now there are two levels to this.

1) They're openly and unabashedly favouring one child over the 3 others, but then still ranking the other kids, and somehow Ye Bingchang ranks lower than her brother who is a lazy and stupid gambler. Her family simply doesn't see her, she's completely forgettable to them, like her existence only matters because sure, she's their blood, but she's a complete afterthought.

2) The daughter they favour over her is Ye Xiwu, and Ye Xiwu is a monster of a golden child. She's completely selfish and narcissistic, she explicitly abuses her husband, she schemes again and again to seduce and try to rape Prince Xiao Lin, her sister's one true love and fiancé, and when this doesn't work she becomes physically violent towards Ye Bingchang as well.

Ye Xiwu is an extremely abusive and horrible person, straight up. And her family continuously makes excuses for her violent behaviour, dotes on her, spoils her, and barely has a look for Ye Bingchang, expecting her to forgive and turn the other cheek. The golden child / black sheep dynamic is at its peak.

I find it quite rare that in this type of situation, a show will have the golden child as our hero ; almost always, if there are complicated family relationships, the main character is the one who's rejected, underestimated, and who has to rise through those challenges (which applies to our main male character Tantai Jin 澹台烬 btw, and I think we could say a lot of the parallels between Tantai Jin and Ye Bingchang).

I can think of other cases where the child who was favoured is the main character over the child who is rejected (Jiang Cheng 江澄 in The Untamed 陈情令, Feng Chang 丰苌 in Who Rules the World 且试天下) but they're not as clear cut as this (Jiang Cheng being his mom's favorite and the only actual son of the family while Wei Wuxian 魏无羡 is also a black sheep on many levels, Feng Chang's more favoured brother Feng Lanxi 丰兰息 being fairly rejected as well and having to fight not to be poisoned).

The golden child as a main character works here because it isn't actually Ye Xiwu : we discover her character and the situation when the spirit of Li Susu 黎苏苏 travels back in time and takes possession of Ye Xiwu's body. Our main character is really Li Susu, and like the audience she's horrified to learn everything Ye Xiwu has been doing, disgusted by her abusive behaviour towards her sister and her husband, and at first disapproves of how much the Ye family favours her over Ye Bingchang. But she also comes to love the Ye family as her own, and the fact that they would neglect one of their daughters so much doesn't impact her affection for them.

We only learn about Ye Xiwu's abuse through flashbacks, so it doesn't have the same emotional impact for us as an audience, and we only brief moments of those memories so we don't have to confront the full magnitude of how horrible she was, including to Ye Bingchang. Again, Ye Xiwu tried to rape her sister's one true love and fiancé, and even after getting married herself she continued to throw herself at him, and when it didn't work she turned to actual physical violence on Ye Bingchang.

And throughout this, the Ye family excuses it all away, and even Ye Bingchang excuses it away. She forgives before Ye Xiwu even apologizes, because she knows that's what's expected of her, and she just tries her best to be a kind soul still defending her sister from people spreading rumors about her. In a way, she's a victim of domestic violence who forgives an abuser and thinks she just needs to be softer, sweeter, weaker, so maybe they don't feel like bullying her anymore.

So when Ye Bingchang tries to use the affection of men to get protection, to feel love and be sheltered from her condition, it's very understandable and to me resembles a lot of things I've seen in real life. And when she turns to resentment over her condition and decides she needs to gain control over her situation through getting some amount of power so she can protect herself, it's an arc we could expect from a main character.

She only becomes a villain after the arc of Bo're Life, in which our four main characters Tantai Jin, Ye Xiwu/Li Susu, Xiao Lin and Ye Bingchang are absorbed into a dragon's dreams of its past as a War God centuries ago. Ye Bingchang is "reincarnated" in this dream as a powerful immortal, a scorned lover but who has the power to actually be vengeful over the woman who steals the man she loves. The object of her ire being Ye Xiwu, reincarnated in a very sweet clam spirit woman, Ye Bingchang gets a taste of what power feels like, of what manipulation feels like, and of what revenge over Ye Xiwu would feel like. And when even in this dream life, Ye Xiwu is preferred over her and she ends up dying, she comes back to herself determined to change and not let others control her life anymore.

Every character (except Xiao Lin really) seems deeply influenced by what they lived in Bo're Life, having identity crises of sorts over who they actually are now. As an aside, it works as a pretty good plot device to suddenly get Tantai Jin a lot more open to Ye Xiwu/Li Susu and move their romance along, it almost feels like cheating but I'll allow it.

Anyway, Ye Bingchang has now slowly become as manipulative and cruel as her counterpart in Bo're Life, and it's easy to just see it as that counterpart taking over her body in a way.

But this manipulative and cruel streak is born out of the profound reality that she can not count on her family to protect her, and that the people who were supposed to love her unconditionally preferred her literal abuser over her.

She did everything right and it was never enough, so now it's time for her to claim her life back.

And again, in another show (like the Story of Yanxi Palace 延禧攻略 for example), this urge to climb to power so no one can hurt you anymore and take revenge on the people who ruined your life along the way, it would make you the hero.

But here, Ye Bingchang still can't win, and she actually turns into a villain.

Scrolling through nct's account and I decided to become angsty

230812 | Li Lianhua & Huli Jing | Cheng Yi Studio Weibo