Everyone Has A Little Creative Muse That Lives Off The Things We Make. They're Very Hungry, And They

"He's been claimed by a Fae Lord, a Witch, a Demon Queen-- we made deals with one too many entities," the Queen explained with a heavy sigh. "Now, he's gone and got himself possessed by a couple ghosts, and apparently has some kind of arrangement with a Siren and a Dragon. I'm a little lost on his social life at the moment."

The Queen plucked out the sacrificial dagger protruding from her son's chest and tossed it aside with a hanky. The wound instantly healed.

"He's immune to just about anything," she continued. "Lightning, arrows, knives, cannonballs, being frozen or burned and... What was it? Oh yes, poison."

The Prince reached for the knife that lay discarded and began giggling and stabbing himself. The wounds gave off little sparks as they zipped the skin back together.

"Oh, my poor son," the Queen lamented. "In any case, is this God of yours powerful? They might need to be in order to claim him."

The Order exchanged glances. "We changed our mind," they said.

The Prince hopped up on the sacrificial altar and grabbed the leader by his robes. "No no NO you can't stop NOW!!" He giggled, "Beyooooond the time it took for set up, how RUDE it is to call a God only halfway, right when it's getting GOOD?!"

The Order grimaced. "The prince speaks the truth. Complete the spell in the honor of God. Only he can determine if this vessel is worthy."

The Prince flopped back with a smarmy grin.

The Order sunk the knife into the Prince once again and commenced with the summoning. The Prince began to float, and he hit the clergy with spitballs from where he was suspended.

The God appeared and looked over the clergy. "You must know this vessel is... Inadequate," he said, gesturing to the giggling prince. "I have never been summoned to a less suitable vessel."

"Suit yourself! You clearly don't know how to PARTY!" The Prince said, dancing around the floating apparition. "Like I want some boring old god taking up space in MYY flesh prison!"

"Dear, that dance is a bit unseemly," the Queen said. "Stop at once."

"YOU stop, MOM." The Prince pointed at the Queen. "Is she? Is she suitable? She's been offering me up this whole time!"

The Queen shook her head. "That's not necessary, Dear."

"Very well. It is done," the God said, and his spirit flowed into the Queen's mouth. The Queen shook briefly, then closed her jaw audibly.

"Goodness. I expected more," the Queen said, dabbing her lips with a hanky. "Truly a boring God. Let's go home, son."

"Wait, what happened?!" The Order cried.

"Oh, we are also a family of God eaters," the Queen said. "I must have forgotten to mention that. Did I? It's how we keep getting all these contracts."

The prince pointed to the sacrificial dagger in his chest. "Hey, can I keep this?"

When the eldest of the royal children was kidnapped and brought to the ritual table to be the new vessel for the cult's god, they seem oddly fine with it. It was in the middle of the ritual that the eldest royal revealed…

small reminder: the world needs your stories, even the ones you’re not sure are “good enough”

Somewhat inspired by Toei animated Swan Lake from 1981. The characters are not the same, nor is the situation. Mainly the prompt in my head is, what if a villainess asked a hero for a dance? Sketched and drawn in Krita. I am a little rusty so please be gentle.

God, I just love these little pink munchkins and this tired lil rodent mom

It's hard being a single mom of four to eight kids (she's bad at math)

Also self imposed design challenge to design an infant rodent that doesn't look like eraserhead baby

The board decided to level the hospital. It wasn't profitable enough, they said. One nurse practitioner refused to leave. It was a death sentence to the town, she said. They claim they didn't know she was still inside when they began demolition.

For a long while after, it was a five hour drive to the nearest hospital. People of the town made do with what they could. Teledoc, MayoClinic, homeopathic remedies. Prayer. Nevertheless, the funeral director kept busy.

The old hospital foundation, naturally, was rumored to be haunted. Teens used to sneak up to the grounds in the dead of night for a chance to catch a glimpse of The Nurse. Adults of the town tried to discourage such behavior after a few kids went missing, but teens insisted The Nurse was only dangerous if you looked at her face.

It was late one night when one of the twins was skating on the old wheelchair ramp and fell face-first into the pavement. Their friends watched from afar as The Nurse approached. The Nurse stood over them and healed them with a radiant glow.

Naturally, the news of The Nurse spread quickly in the desperate town. They filled the old foundation with lawn chairs and handed out blindfolds to anyone who waited. Some would wait all day, even after they determined she only came out at night. The elderly of the town hosted a monthly potluck in honor of the Nurse, and a group formed to help keep the patients company as they sat blindfolded in the dark.

Then the news spread further. Tourists started coming to the old foundation in hopes of curing their ailments. The foundation became something of a tourist destination, and vendors sold paintings with a side profile of The Nurse, along with framed debris from the site.

News got around to the landowner, who shut down the vendors and roped off the foundation. They began charging an entree fee to see The Nurse, a fee no one in town could afford. People of the town tried to sneak in some nights, and were arrested for trespassing.

The death toll rose again.

The landowner was rebuilding the hospital on the old foundation when he disappeared one day. No one's sure what happened, but they suspected he looked at The Nurse's face, while others speculate she held a grudge.

Nevertheless, the town regained their hospital, and The Nurse was never seen again.

They say that going to that mountain, where the now-bare foundation of a hospital sits silently, can cure any disease or injury. Simply sit in a chair on the grounds, wearing a blindfold in the dead of night, and The Nurse will arrive to cure you. But you must never look at her face…

The squall pushed them straight into the rocks, which tore clean through the starboard side. The hull was damaged beyond repair. Gwen screwed her eyes shut. She knew she shouldn't have let Harvey goad her into trying to prove herself. She knew she wasn't ready to be captain. She knew she wasn't enough. She just wanted so badly to be taken seriously. And now they were all going to die for her pride. This was her fault. This was all her fault.

"Snap out of it, Captain!" one of the crewmen cried. "We need to evacuate!"

Gwen shook, heaving, with a white-knuckled grip on the steering wheel. She stared ahead, wide-eyed and shellshocked.

"Leave the wretch! She'll take us down with her!"

"I knew we shouldn't've trusted her!"

Gwen snapped out of her trance. She had a job to do. "You lot! Move the cargo port side! You two! Hold the life boats! I repeat, hold the life boats! The current is too strong and we'll be dashed on the rocks! Wait until my signal!"

Her arms shook, fighting the pull of the wheel. She had trained for this. She had trained so long for this.

The ship was losing the battle against the punishing wind, pulling them toward a rocky alcove. Gwen knew what she had to do, but it would take them wildly off-course.

"Brace yourselves!" Gwen screamed.

She began to turn the ship.

"Captain, what are you doing!" one of the crewman cried.

"We must change course or be drawn further into the rocks!" Gwen yelled over the howling wind. "This will draw us to safer waters!"

"Are you insane! We need to go towards land!" Joshua cried.

"We won't make it to land in these waters!" Gwen screamed.

The ship groaned and pitched. The crew clung helplessly onto the bough and rails. Foaming waves crashed over the deck. In harrowing minutes that felt like hours, they were tossed about in the squall. Finally, mercifully, the ship calmed. The worse had past. The water was rising still, and they were running out of time.

"Drop anchor! Deploy the life boats!" Gwen said. "Begin evacuation!"

"Cap'n, it's customary for women and children to--" Joshua began, reaching for the wheel, and Gwen turned on him with a wild fury.

"I am the CAPTAIN, and I WILL be the last to leave," Gwen snapped.

"Captain--" Joshua protested.

"You are in charge of ushering our passengers onto the life boats," Gwen said, a little softer. "There is a trade route a few clicks off. Someone will see us and come to our aid. You are the only one I can trust with this task."

Joshua set his jaw. Nodded.

"You lot! Keep calm!" he shouted. "In an orderly fashion, make your way onto the life boats! I repeat, in an orderly fashion! This will all be over soon! Help is on the way!"

The first life boat was filled, then deployed.

And then, the second.

The first one, slowly, began sinking. One of the children jumped, taking the risk of swimming for it, and found the water too choppy.

"Captain, the life boat is sinking!"

"Man overboard! Throw the life preserver!" They tossed the life preserver and the child grabbed on. The first boat paddled closer and pulled the child to safety.

"Lower the third life boat!" The passengers from the sinking boat clamored to the other two.

The water was rising. "Lose the cargo!"

The cargo fell into the water, buying them time.

They deployed the fourth life boat. The ship was sinking faster. The crew cut loose the final life boat and abandoned protocol. The life boats barely stayed above water, filled well past their intended capacity. The crew unable to fit clung to floating barrels and planks.

"Captain-!" one of the crew cried. Gwen tried to swim for it, but the current pulled her under. Water surged into her lungs. She kicked and clawed, fighting for survival, and losing. Down, down, the ship sank, and Gwen with it. Her limbs were heavy, and her vision grew dark.

Gwen awoke to a burning sensation in her lungs. She gasped in a breath, but felt a lazy, liquid pull, not air. She questioned whether she was dead. Judging from the pain in her lungs and limbs, she didn't think so. Something smooth brushed her cheek. Her eyes snapped open.

"Oh good, you're not dead," a woman said, leaning over her, holding her cheek. Her voice sounded strange and melodic. The lighting too low to see her properly.

Gwen shook her head. She tried to speak, but all that came out was a high whistle.

The woman tilted her head.

Gwen tapped her throat.

"You're breathing because I made you breathe," the woman explained. "Using a little bit of magic I concocted. It seems you're still adjusting."

Gwen tried to speak again, but choked, little bubbles forming around her. She tried to shift away, but something constrained her.

"Where do you think you're going?" The woman tutted. "You're still recovering, and you are many, many leagues deep below the surface. Most don't survive the journey."

Gwen's eyes slowly adjusted to the dark. The woman's silhouette was strange, as if her torso were a writhing mass of... something.

"I'll take good care of you," the woman said. "I've always wanted a human for a pet."

You are the captain of a sinking ship. As you feel that the sinking is your fault you decide to go down with the ship instead of evacuating. It is only when your ship hits the bottom of the ocean and you are still alive that you notice that something is off.

Potential

"It's so much faster," they said. "It cuts out the grunt work."

"That's not the point," you seethed. "That was never the point. You're exploiting others for your own convenience."

"I'm just ahead of the curve."

"No, you're avoiding the messiness of self expression. You can't be bothered to live."

"I'm so sick of your personal attacks," they snap. "Everyone does this. EVERYONE. You're just living in the past."

"No, I want to live in the future. I want life to be worth living in the future. Where does the need for growth and efficiency stop?"

"So you want to live without modern conveniences?"

"No. No. I just want the growth and efficiency to translate to rest, play, and creativity. It isn't. We've lost so, so much. And for what? An endless stream of banality drowning out the passion that made it possible?"

"You're not being realistic. That's not the world we live in."

"I have to be unrealistic. I can't forget the potential of the world. I know what the world could be and I'm so tired of settling for less."

Gorgeous. I could stare at these all day.

This year has been quite trying, but I'm happy that I discovered a love of making these horse animations in 2023.

Villain: I'm a villain, darling. My motives hardly matter. Hero: They matter to me.

CW: Death

but this advice lives in my mind rent-free

some of the best writing advice I’ve ever received: always put the punch line at the end of the sentence.

it doesn’t have to be a “punch line” as in the end of a joke. It could be the part that punches you in the gut. The most exciting, juicy, shocking info goes at the end of the sentence. Two different examples that show the difference it makes:

doing it wrong:

She saw her brother’s dead body when she caught the smell of something rotting, thought it was coming from the fridge, and followed it into the kitchen.

doing it right:

Catching the smell of something rotten wafting from the kitchen—probably from the fridge, she thought—she followed the smell into the kitchen, and saw her brother’s dead body.

Periods are where you stop to process the sentence. Put the dead body at the start of the sentence and by the time you reach the end of the sentence, you’ve piled a whole kitchen and a weird fridge smell on top of it, and THEN you have to process the body, and it’s buried so much it barely has an impact. Put the dead body at the end, and it’s like an emotional exclamation point. Everything’s normal and then BAM, her brother’s dead.

This rule doesn’t just apply to sentences: structuring lists or paragraphs like this, by putting the important info at the end, increases their punch too. It’s why in tropes like Arson, Murder, and Jaywalking or Bread, Eggs, Milk, Squick, the odd item out comes at the end of the list.

Subverting this rule can also be used to manipulate reader’s emotional reactions or tell them how shocking they SHOULD find a piece of information in the context of a story. For example, a more conventional sentence that follows this rule:

She opened the pantry door, looking for a jar of grape jelly, but the view of the shelves was blocked by a ghost.

Oh! There’s a ghost! That’s shocking! Probably the character in our sentence doesn’t even care about the jelly anymore because the spirit of a dead person has suddenly appeared inside her pantry, and that’s obviously a much higher priority. But, subvert the rule:

She opened the pantry door, found a ghost blocking her view of the shelves, and couldn’t see past it to where the grape jelly was supposed to be.

Because the ghost is in the middle of the sentence, it’s presented like it’s a mere shelf-blocking pest, and thus less important than the REAL goal of this sentence: the grape jelly. The ghost is diminished, and now you get the impression that the character is probably not too surprised by ghosts in her pantry. Maybe it lives there. Maybe she sees a dozen ghosts a day. In any case, it’s not a big deal. Even though both sentences convey the exact same information, they set up the reader to regard the presence of ghosts very differently in this story.