This Skull Looks Friendly. It'd Be A Nice Evening To Sit By A Fire With The Skull, A Cigar Perched In

Scabs in this update here to uplifit my spirits, water my crops, and ruin my years-old headcanons about how she might act. Dropkicking my soul into writing that story I’ve had for a while about her. Digging the color of her spectral energy, and I wonder about her backstory.

Right now she’s kinda giving off Kuzco energy (maybe start-to-mid-movie Kuczo?). We’ll see how this progresses.

#pretty sweet #snakes #gliding snakes #look at em go

Here’s how flying snakes stay aloft

High-speed cameras show that paradise tree snakes keep from tumbling as they glide through the sky by undulating their bodies.

The movie Snakes on a Plane had it wrong. That’s not how snakes fly.

Certain species of tree snakes can glide through the air, undulating their bodies as they soar from tree to tree. That wriggling isn’t an attempt to replicate how the reptiles slither across land or swim through water. The contortions are essential for stable gliding, mechanical engineer Isaac Yeaton and colleagues report June 29 in Nature Physics.

“They have evolved this ability to glide, and it’s pretty spectacular,” says Yeaton, of Johns Hopkins University Applied Physics Laboratory in Laurel, Md. Paradise tree snakes (Chrysopelea paradisi) fling themselves from branches, leaping distances of 10 meters or more (SN: 8/7/02). To record the snakes’ twists and turns, Yeaton, then at Virginia Tech in Blacksburg, and colleagues affixed reflective tape on the snakes’ backs and used high-speed cameras to capture the motion.

Physicists had previously discovered that the tree snakes flatten their bodies as they leap, generating lift (SN: 1/29/14). The new experiment reveals that the snakes also exert a complex combination of movements as they soar. Gliding snakes undulate their bodies both side to side and up and down, the researchers found, and move their tails above and below the level of their heads.

Scientists captured the undulating motion of paradise tree snakes as they glide through the sky. A computer simulation based on high-speed video shows that the undulation is necessary for stable flight.

Once the researchers had mapped out the snakes’ acrobatics, they created a computer simulation of gliding snakes. In the simulation, snakes that undulated flew similarly to the real-life snakes. But those that didn’t wriggle failed spectacularly, rotating to the side or falling head over tail, rather than maintaining a graceful, stable glide.

If confined to a single plane instead of wriggling in three dimensions, the snakes would tumble. So snakes on a plane won’t fly.

How to Do World-Building Research

Whether you’re building a fantasy world from complete scratch, or mentally designing the suburban house your very realistic story will take place in, at a certain point in your writing process you’ll need to plan out your story world. Here are a few world-building research methods to get you started:

Ask Questions

Ask anything and everything you can about your world. Each story will require different lines of inquiry. Listen to your story and follow the questions it seems to want you to investigate. What kind of car did your main character’s grandpa drive? How was the president elected? Why is everyone so obsessed with peanuts? The answers might appear in the story you’ve already written, in your imagination, or you may have to delve deeper into your research to find them.

Draw a Map or Create a Model

Is your story world so complicated it’s making your head spin? Get out paper or other materials and make a visual representation of it. This could mean making a floor plan of your main character’s house, or mapping out an entire town, country, or kingdom. Physically creating your world is research in itself, but it can also guide you to new lines of questioning. You might discover that your story world contains a lot of lakes, or elk, or antiques, which in turn pushes you to research craters, or migratory patterns, or the history of antiques, which then leads you back to questions about meteors, or a lineage of hunters, or a family history of con artists, etc.

Outside Research

You may need to read history books, watch documentaries, conduct interviews, research online, or conduct first-hand research to get your questions answered. If your story takes place in Kansas and you’ve never been there, you could plan a trip, watch movies or read books set in Kansas, or talk to people who have lived there. Remember to record sensory details as well as facts. How does the air feel? What colors are prominent?

Take Notes

No matter what research method you use, take lots of notes. These can be straightforward recordings of the facts, or more creative expressions of what you encounter. Maybe something you stumble across will inspire you to write a poem, make a drawing, take a photo, create a mood board, or outline a new character. Keep in mind that your best ideas might come when you’re not actively researching, so keep a notebook or device nearby to record ideas that pop up when you’re not expecting them.

Use Your Own Experiences, Opinions, Ideas, and Imagination

Research doesn’t just mean looking into what other people say, think, or feel about a time, place, or topic. It can also mean exploring your own thoughts and perceptions! Say you’re researching a story that takes place in Oklahoma during the Great Depression. You’ll want to read history books, conduct interviews, watch films and documentaries, read novels set in that time period, research online, and perhaps even travel. But while you’re doing this, also pay attention to how you think and feel about the information you’re gathering. What details stand out to you? Does something you encounter make you mad? Why? What interests you about this time and place—and what bores you to tears?

When to Stop Researching

Some writers absolutely love story building… to the point that they never want to stop researching and actually write or revise their story! If you notice you’re procrastinating by languishing in the research stage, it’s time to get back to your story. As you return to the writing, you’ll probably find that you need go back to story building, then back to the writing, then to story building again. So don’t be too nervous about putting down your research: You can always go back and revise your world if you need to.

Of course, it’s completely acceptable to be obsessed with story building. All writers have their own attachments—elements of story telling that they love above all others. Some people get obsessed with a character, a plot, a setting, a theme… So if you’re a writer who loves your worlds, don’t be afraid to own it. Lots of amazing writers— especially science fiction and fantasy writers—are known for being huge world building geeks. If that’s what excites you, indulge! Just be aware of when you might be using it as a crutch because you’re nervous about composing or revising your story, and challenge yourself to move on—knowing, of course, that you can always come back to it if you need to.

Hope this helps!

holy shit, this is fantastic! Great job, #paleostream!

Another sketch brought to you by #paleostream

Euthecodon, a giant relative of the dwarf crocodile, catching a flamingo mid air.

“Writing begins with forgiveness. Let go of the shame about how long it’s been since you last wrote, the clenching fear that you’re not a good enough writer, the doubts over whether or not you can get it done. Sure, the nagging demons will come creeping back, but set them aside anyway, and then set them aside again when they do. Concoct a hot beverage, play a beautiful song, look inward, and then begin.”

— Daniel Jose Older, from a Nanowrimo pep talk, but good advice for most any writing. (via superfluousbananas)

i've been writing a book and the feedback i've gotten from family members is that i have been using a lot of description, that the plot is moving along pretty slowly, and "something" needs to happen. do you have any tips or advice on moving plots along quicker in order to keep the reader's attention? thanks so much!!

How to Move a Story Forward

When your character is just milling about in their world describing what they see, what they’re doing, and what’s happening to them, that’s not really a plot. It’s just a random string of events happening to your character, and typically it doesn’t make for very interesting reading. This kind of story moves slowly because nothing’s actually happening. Imagine following an average person through their average day versus following Katniss Everdeen through day three of The Hunger Games. It’s a big difference. And that’s not to say every plot has to be as exciting or dramatic as The Hunger Games, but there does need to be a conflict.

So, the first thing you have to do is sit down and figure out what your story is really about. What is going on in this person’s life that is worth writing about? Is there some sort of inner conflict they’re struggling with? Or is there an external conflict of some kind? Usually there are both with the focus being more on one than the other.

How stories begin…

Most stories start when a character’s life is still normal but just about to change. Katniss was getting ready to go hunting with Gale. Bella was settling in at her new high school after moving in with her dad, and Harry Potter was just living life as the boy in the cupboard.

What happens next…

And then something happens. This is called the “inciting incident” because it “incites” the conflict and brings on the important events of the story. Katniss volunteers as tribute when her sister is drafted into The Hunger Games. Bella meets Edward Cullen and an instant attraction develops between them. Harry Potter receives his letter to Hogwarts.

The character responds and forms a goal…

The character’s normal life has been turned upside down. Now what? For Katniss, the most important thing in the world to her was the safety and well being of her sister and mother, and since she is the one who keeps them safe and fed, her survival of The Hunger Games is vital. That’s her motivation, and her goal is to win the game. Bella becomes obsessed with learning more about Edward and who, or what, he is, and she falls for him and the magic his world brings into her otherwise boring life. Being part of that world is her motivation, staying alive in the process is her goal. Harry finally has a ticket out of his life of being abused and unloved, and he has a chance to connect with the legacy his parents left behind. Leaving his old life behind and embracing this new one is is motivation. Surviving his first year at Hogwarts is his goal.

But goals aren’t supposed to be easy to reach…

If the character can just sail smoothly right up to their goal, mission accomplished, that makes for a pretty boring story. You never hear people say, “WOW! THAT WAS AN INCREDIBLE GAME!” when the score was 20 to nothing. What makes the game exciting is when the teams are neck and neck, one getting ahead for a little while, then the other one being ahead for a little while. It’s the trying, and often failing, to get over obstacles that makes the conflict more interesting. In a lot of ways, that struggle actually is the conflict. What obstacles stand in the way of your character and their goal, and who (or what) put them there? For Katinss, the obstacles were the other tributes and all the frightening things added to the game by the gamemakers. For Bella, it was the nomad vampires who caused trouble at first for fun, and then later for revenge. The obstacles Harry faces are partly due to conflict with other students and teachers, and partly due to the first “shots fired” in what would become the overarching battle against Voldemort.

You win some, you lose some…

And it’s important that you show some wins along with the failures. Sometimes the character tries to overcome an obstacle, fails, tries again and succeeds. Sometimes they fail and have to come up with a work around. Either way, the fails add to the tension and drama while the wins add excitement and interest in what happens next.

The final showdown…

Eventually you get to the big showdown, aka “the climax.” This is when your character faces down the biggest challenge that stands in the way of reaching their goal. This could be an epic battle between your character and the villain. It could be the moment where your character realizes they’re in love with their best friend and they chase them to the airport to admit their undying love for them before they move away. Or it could be surviving one last night of a terrible storm before crawling out of hiding to assess the damage. Whatever it is, the culmination of that moment is achieving or failing to achieve their goal.

The dust settles…

Whatever crazy chain of events was set off by the inciting incident, they’ve come to an end now thanks to the actions of your protagonist and their friends. Or, if they haven’t come to an end, they’ve at least been waylaid for now, or things are at least moving in a better direction. Now your characters can clean up, rebuild, mend wounds, tie up loose threads, and get back to life as normal. Or, in the case of a series, they can re-group and figure out what happens next. And that’s the end.

… But some stories happen on the inside.

Some stories are more about people and their experiences than about any big crazy thing that happens to them. Stories like these are more emotional and are more about dealing with the inner conflict than an outer one. But even in stories like these, you’ll still have a similar structure to what I laid out above. It’s just a lot looser and tied up with an emotional journey rather than the physical one. Which isn’t to say they can’t have a parallel physical journey, but the important stuff is happening on the inside.

Whichever kind of story you’re writing, if you make sure you’re hitting the important points I’ve laid out above, whether they relate to an internal conflict, an external conflict, or a little of both, you can be sure you’re writing a story that is moving forward and will keep your audience engaged. Everything I’ve outlined above is the “something” that needs to happen to make your story interesting.

Good luck! :)

I find it rather charming, to be honest. This is one of those smooth rocks you find in a garden or by a riverbed, the ones that feel good when they're put in the palm of your hand. And its out there all by its lonesome, spinning like when you get into your parent's office chair and just make yourself go as fast as possible (possibly with a friend). Keep on spinning, you funky little dwarf planet you.

And according to NASA, Haumea has rings.

Ok so Haumea, a dwarf planet beyond Pluto, spins so fast it gets elongated like this. This is just what it looks like. Something deeply unsettles me looking at it. Terrifying.

I wonder if the role of those two is ever going to expand at some point.

Max's city friends trying to text him again: How was your first week in the new town?

Max: I solved at least 4 people's emotional issues and was rewarded by being trapped here forever. I'm also being stalked and blackmailed and a kid broke my scooter. On the bright side, I'm basically a superhero.

Damien and Sam: You know you don't have to make stuff up. It's only been 6 days, we didn't expect much of a report

The link between drawing and seeing in the brain

Drawing an object and naming it engages the brain in similar ways, according to research recently published in JNeurosci. The finding demonstrates the importance of the visual processing system for producing drawings of an object.

(Image caption: Brain activation patterns during object recognition and production. Credit: Fan et al., JNeurosci 2019)

In a study by Fan et al., healthy adults performed two tasks while the researchers recorded brain activity using functional magnetic resonance imaging: they identified pieces of furniture in pictures and produced drawings of those pieces of furniture. The researchers used machine learning to discover similar patterns of brain activity across both tasks within the occipital cortex, an area of the brain important for visual processing. This means people recruit the same neural representation of an object whether they are drawing it or seeing it.

As the participants drew each object multiple times, the activity patterns in occipital cortex remained unchanged, but the connection between occipital cortex and parietal cortex, an area involved in motor planning, grew more distinct. This suggests that drawing practice enhances how the brain shares information about an object between different regions over time.