People Are Allowed To Be Repulsed By Sex.

Yasha: Oh, your unicorns are real?

Jester: Of course they’re real. You guy think I’ve been talking about fake shit this whole time?

Rest of the M9 who didn’t believe in the Traveler until they saw him:

Dowoon is the confident icon we all deserve and love. That is all.

why are there so many posts about asexuals being immune to sirens. people. sirens don’t lure you in with sex (necessarily). they sing about whatever it is that you want most. they could sing about mothman or cinnamon toast crunch and guess what then your asexual pirate is fucking dead

I’m writing a book about two characters falling in love while dealing with there different mental health problems. As someone who has mental health problems, I want to be real about it but I’m also scared I’m moving my story too fast. Any tips on how to check if your story is going to fast

The general pacing of story typically relies on the depth of events, which is not to be confused with number of events. They are related, however. You can have:

A story with a lot of events that goes into depth of the events (longer story, slower pace)

A story with a lot of events that does not go into depth (longer story, faster pace)

A story with fewer events that goes into depth  of the events(shorter story, slower pace)

A story with fewer events that does not go into depth (shorter story, faster pace)

None of those are necessarily bad, but the kind of story and specific plot the writer has in mind can help determine which place on the + chart that the story should fall. Ideally, the pacing should actually vary per what the event is, but there will still be an overall trend. A story shouldn’t give as much attention to a pit stop as it would to the climax. 

Here’s a post on pacing individual scenes. (link embedded)

Checking for pacing can be a little tough, since a lot of the skill comes from general experience with many types of stories, which contributes to knowing how things should be and how to get them there. You ask specifically about checking for a fast pace, so here are some tips, but they are in no way a substitute for a beta reader who has fresh eyes and can give you an objective evaluation:

Look at the word count of your scenes, then look at the context of that word count. If your important scenes have similar word count to the less-important ones, your story may be too fast. Important scenes should naturally have more exploration which would slow them down.

Check to see if you’re telling, not showing, specifically for things that matter. Telling speeds stories up, and while it isn’t always a bad thing since some things need to be summarized, too much can make a story too fast. Showing helps make scenes more vivid and interesting, and naturally slows pacing because it takes up much more room.

A bit more about show, don’t tell (link embedded)

Three Signs That Mean You’re Telling, Not Showing (link embedded)

Do you have intermediate scenes between major events? Some stories don’t need them, particularity plot-focused ones, but a romance should be more character-focused and therefore should have intermediate scenes.They’re typically less-meaningful scenes than direct plot events, but can help show the depth of characters and help set up major events in the story, particularly if an occurrence needs some form of set-up to make sense and not seem like it’s overly convenient or coming out of nowhere.

Do you have subplots and actual obstacles? Subplots and other obstacles naturally slow down pacing, so a story without them is going to move along very quickly. The key to working well with subplots and obstacles is that they have to tie into the main plot and they actually have to provide struggle for the characters.They are not to be treated as “filler”.

What’s your ratio of dialogue-description-exposition? A well-balanced story is a well-paced one, and dialogue should only be about 40-60% of the story. Any more and it’s very likely that a story would be read too quickly and fail to . D-D-E should be interwoven throughout a story and each scene.

Can you picture the scene with what you write? Related to the previous point, description helps give the reader a mental image of what’s happening. Only read what you’ve written, not how you imagined the scene to play out, then evaluate if you can properly envision the setting, characters, and occurrences. Not enough description often means too fast of a pace.

Good luck with your pacing!

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kinnporsche in a nutshell (insp.)

“I want a kpop group that does aggressive concepts” 

“…. But also does soft concepts…”

“… But can still keep their hard image…”

“..BUT CAN ALSO STILL BE CUTE AND SILLY….”

“.. A Group that shows their sensitive side..”

“.. BUT CAN ALSO GO PASTEL WITH FUNKY BEATS I CAN SHAKE MY BUM TOO…”

“… But also releases Japanese albums…”

“… A group that doesn’t stick to one concept…” 

“… A Group with deep meaningful lyrics and hard hitting MVs..?” 

“… A group that writes and produces their own music…”

“ A group that no matter how hard they work and how much shit they’ve gone through are still 100% for their fans and only truly care about their passions and life but still keep us updated and make sure we’re happy and continue to support us as much as we support them”

If you’ve been following this blog for a while now, you know that I’m a big sucker for Dragon Age and I’ve been thinking about a Critical Role Dragon Age AU forever now. So here are my thoughts:

Jester is an apostate mage who has been hidden away by her mother for all her life. While her mother entertains the Orlesian nobility as a minstrel extraordinaire, her daughter practices magic alone in her room. Sometimes she can swear that there’s a voice speaking to her, a Spirit of Mirth, who encourages her to play magic pranks on some of the visiting nobility.

Beau has been given to The Seekers of Truth at a very young age. She was forced to undergo strict and hard training for almost all her life, but failed her vigil at the end of her training. Her mentor saw her potential and while Beau was officially let go from the Seekers, she still has the mission her mentor gave her, to root out corruption and keep an eye on the Templars.

Caleb is one of the youngest apprentices to become Enchanter in the Circle of Minrathous. While his parents come from a humble background, his magical talents start propelling their prestige in the Tevinter Imperium. When Magister Trent Ikithon takes Caleb and two of his talented friends under his wing, Caleb is proud–but Trent’s fanatical beliefs in the restoration of the past greatness of the Tevinter Imperium causes him to murder his parents to prove his loyalty.

Yasha is an Avvar Warrior worshiping The Lady of The Skies even after she got cast out from her tribe for falling in love and marrying a member of a rivaling tribe in secret. After her wife got killed for the transgression, Yasha now roams the Frostback Mountains to find new purpose in life, eventually meeting a clan of Chasind in the Korcari Wilds and becoming fast friends with a strange fellow named Mollymauk.

Mollymauk is a mysterious entity with an appearance similar to that of a Desire Demon and with Blood Magic powers. While he has no idea why he looks like he does and where his powers come from, he made a home among the Chasind who took him in after they found him sitting beside an empty grave. Despite not being an elf, Mollymauk worships the elven goddess Mythal, something he mostly keeps hidden.

Caduceus hails from Nevarra where his family is made up of the descendants of Mortalitasi. Instead of caring for the Nevarran nobility, they strive to care for the little people in death, running their own cemetery. While conversing with the spirits, they distance themselves from the Nevarran practice of drawing wisps across The Veil to bind them to corpses. Instead they help ordinary people bury their dead in dignity.

Fjord originally hails from Denerim where he grew up in one of the many orphanages. As a human with obvious Qunari descendants, Fjord was always feared as being a bloodthirsty monster. When he was old enough, he left Denerim and hired onto one of Amaranthine’s ships where he eventually met Vandren. Desperate to find out more about his heritage, Fjord always longed to meet a full blood Qunari.

Nott came from the mining cast in Orzammar and married one of the foremost experts of Lyrium mining and refining known in the Dwarven capital. After an accident in the Deep Roads Nott is hurt by a group of Darkspawn, causing her to catch the taint. To save her she is made a a Grey Warden and joins the Legion of the Dead, leaving her husband and son behind. But Nott is not able to let go of her old life and when she hears that her husband has been kidnapped by Venatori, she defects from the Legion and goes to the surface to save Yeza.

by  Andrius Matijosius

A Snowball Fight

+ bonus cuteness:

Inquisitor Carver is such a fun concept because 

“I’m pretty sure this was meant for my sibling, but I got it by accident” meta-commentary

Varric and Carver being part of the same found family and relying on each other

Carver, lying, “I don’t know where my sibling is, Cassandra.”

Cassandra, about to commit a double homicide, “YOU BOTH KNEW”

Carver would not have time for anyone’s bullshit and would call out people to their face on what he thinks are shit opinions. 

Josephine’s poor stress levels

Cullen and Carver just “And he looks at me” “And I look at him” “And he looks at me” “And I look at hiiiim”

The fact that it’s Corypheous??? Like this fucker is the reason Carver almost got assassinated by carta dwarves and now he’s back??? 

Having to make the choice in the Fade and would Hawke rob Carver of his agency of who gets left behind and chooses to sacrifice themselves

Cole breathes and Carver is suddenly a big brother