THIS MAN

YAY HE'S LIKE ME <3

Me when solar is bi

Helluva Love Affair

Playlist that kept me inspired.

Head canons regarding the comic under the cut

I imagine Fizz had very little privacy during his time with Mammon. I imagine him sharing a dorm room with several other clowns, because Mammon is cheap. That's why he is excited about having his own room.

I think Fizz also is not used to being touched with consent. Fans grabbing him, Mammon's staff touching without asking. Just a lot of unwanted hands on him.

Despite being very famous and looking like Fizz had it all, I think Mammon took majority of his earnings and he had very little to use for himself. And that he was in severe debt to Mammon over the prosthetics.

Because Ozzie refers to Fizz as business partner, I imagine Fizz has much bigger role in Ozzie's company just than an MC. I think he is actually the manager of Ozzie's, handling events, special nights, performers etc. He knows how to put up a party!

The "Valentine's Day Gang Bang Night" outfit was definitely just for Ozzie. Fizz got tired of waiting and wanted to well and truly seduce Ozzie.

No, I am mad at you and your starry eyes and new name will not make this any more endearing -

But hey! New villain duo. Can't wait to see what problems these two are gonna cause together...

Introduce characters

Here are some ways to introduce characters in a story

The Action Introduction, Show the character in the midst of an exciting or significant action. This immediately captures the reader's attention and gives them an impression of the character's personality. For example, "With a swift swing of her sword, Maya cleaved through the enemy ranks, her determined gaze never wavering."

The Dialogue Introduction, Introduce the character through a captivating conversation or monologue that reveals their thoughts, beliefs, or conflicts. This allows readers to get a glimpse into the character's personality and motivations. For example, "As the rain poured down, James leaned against the lamppost and muttered, 'Life's just a series of missed opportunities, isn't it?'"

The Physical Description Introduction, Describe the character's appearance in a vivid and memorable way. Focus on unique features or attributes that make them stand out. For example, "Her emerald-green eyes shimmered like pools of liquid wisdom, and her silver-streaked hair cascaded down her back like a flowing river."

The Entrance Introduction, Have the character make a grand entrance that immediately grabs attention. This could involve a dramatic arrival or an unexpected appearance that disrupts the scene. For example, "The doors swung open, and in walked a tall figure cloaked in darkness, their presence filling the room with an air of mystery and intrigue."

The Symbolic Introduction, Use symbolic elements or objects to introduce the character. This can be a powerful way to convey their personality or role in the story. For example, "As the sun set behind the mountains, a solitary figure emerged from the shadows, their footsteps leaving behind a trail of delicate rose petals."

The Flashback Introduction, Begin with a flashback or memory that provides insight into the character's past and sets the stage for their introduction in the present. This can create intrigue and a sense of anticipation. For example, "Sarah closed her eyes and let her mind drift back to that fateful day in her childhood, the day that shaped her into the strong, resilient woman she had become."

The Contrast Introduction, Introduce the character by highlighting a sharp contrast between their external appearance or behavior and their inner thoughts or emotions. This can create intrigue and pique the reader's curiosity. For example, "Despite his rugged exterior and tattooed arms, Jake possessed a gentle touch and a heart that yearned for love and acceptance."

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

—

These are *suggestions* and writing is highly subjective. Hope this helps!

My good people, I give you: Amatonormativity.

GREAT GOOGLY MOOGLY, I WAS RIGHT!!

Oh, no... I was right!!

*Breaks Down Door* I Have A Prediction...

It's about the Sun and Moon Show which I'm definitely not obsessed with.

Based on what I've seen about the show, huge secrets that drastically affect the story either come out right before the thing happens, or while the thing is happening, or after it happens.

So, as far as what Moon's planning to do with the equal exchange thing, I thought of three possibilities:

1. Someone finds out and confronts him, and he and that family member have a huge falling out.

2. Someone finds out during the thing, and in their effort to stop Moon, something goes terribly wrong.

3. Moon brings Solar back and Moon makes an excuse for it. However, he is wracked with guilt over his actions, or Solar realizes what he did and confronts him about it, and then everyone finds out.

I think today's episode is most indicative of the first option, since Eclipse has the evidence of Moon's... current situation, and Earth is worried about him.

Anyway, that is all. I understand that this post is way too long, and I apologize. I really like these shows.

He seems very ‘Sun’-impressed with Jack’s attempt to hang out with him. And yes, Jack is wearing two hats.

(I’m sorry, the sketch concept has been haunting me for a while)

AWWWWW!!

how i imagine Moon's first grilled cheese experience went-

fascinated by the pull, see how far it can streeeeetch