Cosas De Chinos

The Worst Branch in the Country

The GIW knows Amity Park is a huge fraud. The “most haunted city in the US”, really? They’ve been checking the place out for decades with nary a peep aside from that couple of crazy scientists that moved into town around twenty years prior.

Because of this, the town became a punishment duty. One of their agents causes trouble? They get put in time out and sent to work for a while in Amity Park. Let those idiots chase after pointless rumors while the actually competent agents work with the more important ghosts. The reports back from the town get barely more than a cursory glance before getting tossed in the shredder.

…Which really came back to bite them when ghosts did actually start to show up, and they didn’t realize until after the Amity Park branch had royally screwed up the situation.

Fuck, they really hope this doesn’t start a war.

Optional DPxDC addition: they call in the Justice League Dark for help with negotiation and taking down their rogue members

homunculous son or unkillable elder god daughter

10 Non-Lethal Injuries to Add Pain to Your Writing

While lethal injuries often take center stage, non-lethal injuries can create lasting effects on characters, shaping their journeys in unique ways. If you need a simple way to make your characters feel pain during a scene, here are some ideas: 

Sprained Ankle

A common injury that can severely limit mobility, forcing characters to adapt their plans and experience frustration as they navigate their environment.

Rib Contusion

A painful bruise on the ribs can make breathing difficult and create tension, especially during action scenes, where every breath becomes a reminder of vulnerability.

Concussion

This brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment and creating a sense of unpredictability in their actions.

Fractured Finger

A broken finger can complicate tasks that require fine motor skills, causing frustration and emphasizing a character’s dependence on their hands.

Road Rash

The raw, painful skin resulting from a fall can symbolize struggle and endurance, highlighting a character's resilience in the face of physical hardship.

Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation.

Deep Laceration

A cut that requires stitches can evoke visceral imagery and tension, especially if the character has to navigate their surroundings while in pain.

Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma, serving as a physical reminder of a character’s past mistakes or battles.

Pulled Muscle

This can create ongoing pain and restrict movement, providing an opportunity for characters to experience frustration or the need to lean on others for support.

Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted, highlighting their struggle to adapt and overcome.

Looking For More Writing Tips And Tricks? 

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I’ve been very busy with school, but no matter how busy I am, I will always have time for my bedtime stories (danmei novels). Lately, I’ve been reading this very good Palace Intrigue novel.

And hear this, I’m not that fond of palace intrigue. Not that I hate it… it’s just not a genre I’d first look at when I’m looking for something to read. Palace Intrigue tend to be either too complicated and serious with the mysteries and scheming, completely neglecting the romance aspect (the reason why I even read danmei and not no CP works), OR they are just not serious and complicated enough and everything seems like fun and games.

Palace Intrigue needs to be at a very specific sweet spot for me to enjoy it. This is why although I’ve read many such novels under the genre, the ones I really like and can even remember the title of are just two—Si Tian Guan and I Rely on Beauty to Stabilize the Country (though I have not yet finished both because of certain reasons)

But now, I can finally add a third one to that list: 可是他长得美啊 (lit. But He Looks Beautiful Ah)

The romance and the intrigue aspects are perfectly balanced, and I guess it has a lot to do with how the romance itself is also full of intrigue—and not a political or a love-hate type of intrigue, but simply… on what it’s really like to love someone.

The novel realistically explores what it’s like to love someone whose morals and principles you may not always agree with.

I initially thought the novel was going to have a typical Yandere Top x Submissive Bottom kind of pairing… But it doesn’t. Instead, it challenges this Yandere Top archetype and shows how it won’t work at all in a real loving relationship, and it does this without being puritan over it.

The protagonist Jingzhe would stop the male lead Rong Jiu from doing extreme acts, but at the same time he tries to understand why the latter would do such a thing. He doesn’t try to “heal” Rong Jiu, but instead he coaxes him to a middle point that they agree on. They argue a lot over this, but that just shows how much they care for each other.

There were instances where Rong Jiu tried to force Jingzhe to the dark side, but Jingzhe never once gave in. Then, slowly, little by little, Rong Jiu learns to restrain himself and understand what Jingzhe values, while Jingzhe also understands Rong Jiu and makes him feel more secure in their relationship.

Instead of either getting converted to the other’s side, they learn to meet each other in the middle.

And I like that.

DP x DC: The Dead Man at the Diner

Danny has a hard time maintaining regular jobs. At this point he’s pretty much nocturnal after years of being attacked at night, and possibly just part of his ghostly nature. He’s odd, and a basic google search brings up various news articles about him getting into fist fights with the mayor of a small town. He barely passed high school and college was out of the question, so who in their right mind would hire him?

What’s a job that would work with his odd hours, doesn’t require a college education, and a possible criminal record and a tendency to be ready to throw down is NOT an issue?

Danny is a cook at a 24hour Diner in Gotham

The man just needs to be able to flip a burger and make breakfast food and doesn’t mind a gun in the face because he’s well used to it. So what if the robber was dumb enough to pull that shit next to the fryer. If he didn’t want something to end up extra crispy he should have stayed out of Danny’s kitchen

Just think of all the folks he would meet.

Sure, the vigilantes of the city would be obvious and you can’t tell me spoiler isn’t dragging folks there to eat. Maybe they notice some weird things about the cook, like he doesn’t breath, his eyes reflect light like an animal’s, or the time he accidentally cut off a finger and it was fine the next day, or maybe the time a robber shot him and he just... didn’t react

Something is weird about that guy

And of course the person I think would love a jersey style diner breakfast at all hours: Harley Quinn

Technically she’s not supposed to bring the hyenas in, health code and all that, but everyone else is to freaked out to tell her and Danny doesn’t care. Frankly he spends his break petting them and they like him because he smells like food.

Questions, Questions

This is about writing and I have some questions I would like some answers to. They probably aren't going to be answered, but I don't really care.

How do you do research for writing?? It's so hard and makes me want to cry afterward.

How does one write emotions? I'm trying to write a character sobbing and shaking and angry all at the same time. Any writing exercises I could do?

How do I write panic attacks, ptsd attacks, etc... etc...? I want to write them probably to fully sell the effect.

Any tips on writing animals? Cats, dogs, horses, snakes, unicorns, or whatever.

Or anything that isn't human?

Answer if you like; I'm thankful for any help. My brain is half-mush an' I really need some help.

Danny Fenton, a new receptionist at Wayne Enterprises:

Vicky Vale, knowing Danny Is Not Ready for her: So, where does Bruce Wayne leave for during his meetings? A new woman? Man? Trouble in the family?

Danny "Town Menace Phantom" Fenton, done with Genderbent Wes Weston: To fuck your mom.

Bruce's experienced receptionist that left for 6 seconds: okay, Danny no--

Danny, who knows something's up with the Wayne family: and your Dad, because we support the LGBTQIA community. Thank you and leave.

Reblog to open a rail line from your blog to the person you reblogged this from

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

Understanding Internal Conflict in Storytelling

Internal conflict is a vital tool in storytelling, enriching characters and deepening narrative impact. Understanding and effectively using internal conflict can transform a good story into a compelling, unforgettable one.

Introduction to Internal Conflict

Definition: Internal conflict refers to a psychological struggle within a character, often involving emotions, desires, or beliefs.

Purpose: It adds depth to characters, making them more relatable and complex.

Types of Internal Conflict

Moral Dilemmas: Situations where a character must choose between right and wrong, often with no clear answer.

Emotional Struggles: Conflicts arising from feelings like love, guilt, fear, or jealousy.

Identity Crises: Moments when characters question who they are or what they believe in.

Conflicting Desires: When a character's wants or needs are at odds with each other.

Examples of Internal Conflict

Classic Literature: Hamlet's indecision about avenging his father's death.

Modern Fiction: Katniss Everdeen's struggle between her survival instincts and her growing sense of rebellion in "The Hunger Games".

Film: Frodo Baggins grappling with the burden of the One Ring and its corrupting influence in "The Lord of the Rings".

Importance of Internal Conflict

Character Development: Drives growth and transformation, showing how characters evolve.

Engagement: Keeps readers invested in the character’s journey by creating empathy and tension.

Theme Exploration: Allows writers to explore complex themes like morality, identity, and human nature.

Crafting Internal Conflict

Believability: Ensure the conflict is realistic and relatable to the audience.

Depth: Give characters more than one internal conflict to make them richer and more interesting.

Resolution: Show how characters resolve or cope with their internal struggles, even if it’s not a happy ending.

Questions to Consider

What is the character’s main internal struggle?

How does this conflict affect their decisions and actions?

In what ways does the internal conflict drive the story forward?