Happy Pride Month, Everyone One In The LGBTQIA+ Community

consider: intrusive thoughts described like shitty Buzzfeed articles

“Top 10 Reasons Why You’re Actually a Pedophile”

“People Are Sharing the Best Slurs to Scream at the Top of Your Lungs and Honestly I Am So Here For It”

“Tell Me Your Favorite Color and I’ll Tell You You Can Jump In Front of A Moving Train Right Now”

“You’ve Heard of [Normal Activity], But Have You Heard of All the Horrible Ways You Can Die While Doing It???!!”

“This Quiz Will RevealWhich Hand You Could Hypothetically Stick in a Blender!”

Isokania/Isolkania is a pretty good ship name.

That being said, I raise you: Vingledorf

If I had a nickel for every time someone was in questionable relationships with their starship

I would have two nickels which is a lot but it does beg the question WHAT THE FUCK IS GOING ON HERE MECHS FANDOM

on the "you're the cruelest of all" scene

the moment where kakania attempted to use hypnosis on isolde ... that broke me for real. it was at this moment that isolde felt utterly betrayed and hopeless. it should be noted that kakania had no ill intentions and only used hypnosis as a last resort, but in isolde's eyes, that only goes to reaffirm that she is in fact unfixable. if someone with such strong principles was willing to forsake said principles just so that there may be a hope of "saving" isolde ...

but what really gets me the most is the way isolde accepted it. out of her own volition? i can't say for sure, she's been through too much in such a short period of time. but her exact words were "i will embrace it with joy". whilst feeling betrayed by kakania, whose actions in that scene went against what she initially stood for, she still desperately clung onto salvation and the fact that kakania still cared for her. isolde doesn't want kakania to ostracize her for her condition the way the rest of society does, especially since kakania had shown her true compassion. and of course kakania never wanted to make her feel that way either, she's just at a loss of how to deal with isolde. no one is really to blame in a situation like this, and that's partly what makes it so tragic

can you do I Am All Of Me from Shadow the Hedgehog (2005)

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Writing advice from my uni teachers:

If your dialog feels flat, rewrite the scene pretending the characters cannot at any cost say exactly what they mean. No one says “I’m mad” but they can say it in 100 other ways.

Wrote a chapter but you dislike it? Rewrite it again from memory. That way you’re only remembering the main parts and can fill in extra details. My teacher who was a playwright literally writes every single script twice because of this.

Don’t overuse metaphors, or they lose their potency. Limit yourself.

Before you write your novel, write a page of anything from your characters POV so you can get their voice right. Do this for every main character introduced.

the suffering never ends

sometimes you need dialogue tags and don't want to use the same four

when did you get back on here? i thought you disapeared before april 1st to miss the boops by accident again (I mean this in a silly way, I miss you merryl)

lol im a lurker mostly i dont really post/reblog much but yeah im on here sometimes

Foreshadowing Ideas

• Character themes/motifs. I’ve heard of one writer who tries to give each character their own theme for similes, metaphors, descriptions, etc so there’s like a theme to the way they’re portrayed. You could use that to foreshadow notable secrets about the character that will later be revealed, or if at any point they’re disguised then you can use that to tip off the reader that they have the same motifs and so might be related/the same person

• Tiny details hidden in lists. Say the MC was trying to work out the identity of a bad guy, who we know was wearing a red shirt on the day of a big bad event. A few chapters later, MC is checking around their best friend’s room to find them, with the place its usual mess with discarded takeaway boxes, the bed unmade, a red shirt left on the floor that could use a good sweep. The red shirt might not click with all the readers, but those who register it upon their first read will eat it up

• Inconsistent behavioural patterns. Once we have a good idea of what a character is like, having them act out of character can set off alarm bells and make us question what’s occurred to make them act this way. Let the other characters register it too, if it’s reasonable that they would, but let them ultimately brush it off quite quickly to keep it subtle. Or just call it right out, whichever you prefer

• Unreliable narrators. Let one character say one thing and a second character say another, even if they both ultimately agree on the same thing but get one or two small details wrong. Ideally do this two or three times in order for the reader to know it’s not just a mistake in the plot but an intentional inconsistency, but even if it’s only done once and it’s taken as a mistake it’ll still slot together like puzzle pieces in the end and they’ll be kicking themself for dismissing it

• In-universe red herrings. If you’re going to add red herrings as foreshadowing, it’s helpful if the red herring aligns with the intentions of someone person aware of the upcoming plot twist who’s trying to control the narrative. Say the plot twist was the reveal of a mysterious character’s identity to be the best friend of the MC, the best friend might have deliberately thrown the MC off their scent by planting suspicions in the MC’s mind that a different character was the mysterious character’s identity all along. This is less about foreshadowing the actual reveal, of course, but rereads will be a punch to the gut when everyone realises that all this misinformation and red herring business came from someone trying to cover their own ass rather than coming from misunderstandings or multiple other random sources