Prompt 2483

VERY HOT TAKE: Rory Gilmore is an annoying person and i need to find more Rory Gilmore clips that humbles her.

No im not jealous or envious that i cant study like that (I’ve accepted that part of me) , she’s just really insufferable and annoying.

Its crazy how much patience those characters have for her cause if i was one of them I’d immediately be called an opp💀

I always find it crazy how we can basically see everything on the internet including people's lives but feel so powerless when it comes to social injustices and war crimes like what's happening in Gaza right now, a genocide.

It genuinely sucks because I have access to the internet and technology but I do not have enough power nor resources to actually help those in needs.

I am nothing but a high-school student and I'm devastatingly watching people die simply for existing just like the Holocaust in the past.

I have enough resources and power to know and see what's currently happening but it's not enough where I can help them and it's truly sickening.

All I can do is help spread awareness and boycott ;(

My Journey to Escape the War in Gaza

My name is Abdelmajed. I never imagined I’d be sharing my story like this, but life in Gaza has become unbearable. I am a survivor of the war here, and in the blink of an eye, everything I once knew—my home, my safety, my community—was ripped away from me.

The war has transformed Gaza into a graveyard of broken dreams. The buildings that once stood as symbols of life and resilience are now piles of rubble. Every corner is filled with the echoes of explosions. Every moment is shrouded in uncertainty. There is no security. There is no stability. There is no light at the end of the tunnel.

Basic needs have become luxuries. Food is scarce. Clean water is even scarcer. Hospitals are overwhelmed and under-resourced, and there is almost no medical care to be found. Every night, families go to bed hungry, praying they’ll wake up to see another day. The cost of basic necessities has skyrocketed, and it’s become a daily battle just to survive.

I’ve seen things I never thought possible—standing in long lines for a piece of bread, rationing every drop of water, and watching my people suffer in silence. I have lost everything—my home, my safety, my dignity.

Escape from Gaza is my only hope, but it’s almost impossible without financial help. The cost of evacuation is far beyond my means, and without support, I’m trapped in a warzone with no way out.

I’m reaching out to you now, in the hopes that someone, anyone, can help. I am not asking for luxury. I am asking for a chance—just a chance—to live. A chance to escape this never-ending cycle of fear, destruction, and loss. A chance to rebuild my life somewhere safe, where I can begin again, where I can find hope once more.

Chuffed

Help Abdelmajed Escape Gaza and Rebuild His Life

My name is Abdelmajed, and I am a survivor of the war in Gaza. Everything I once knew has been taken away—my home, my safety, and the people

Any amount you can give will help me get closer to safety. Even the smallest donation will make a difference—it could be the lifeline I need to survive. If you are unable to donate, please share my story. The more people who hear it, the better the chance that I can find the support I desperately need.

Your kindness and support mean the world to me. You’re not just helping me escape a war; you’re giving me a chance to live, to rebuild, to breathe again.

Thank you for listening. Thank you for caring.

Vetted by @gazavetters

【未定事件簿】 Tears of Themis: Secrets of the Tomb SSR Translations

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In time travel movies, when the time traveler asks 'What year is this?!?' they're always treated like they're being weird for asking.

When in reality, if you go 'What year is this?!?' people will just say '2024. Crazy huh.' and you go 'Wtf where has my youth gone.'

And if you ask 'And what month??' people won't judge you, they'll just go like 'SEPTEMBER!!! Can you believe it?!?!' and you go 'WHAT?!? Last time I checked we were in May?!?'

Tips on Pacing

We, as creators, seek that hook that gets the readers invested and keeps them that way. Nothing does that better than tension. There are all kinds, but it often occurs between characters. The "do they like me" of romance, the interruptions of erotica, the intense adversary from an unknown opponent, or the whodunits of mystery; Tension comes in all shapes and sizes, but it boils down to one thing, leaving the readers holding their breath in anticipation of the next page.

A large part of the creative process is figuring out how to create that tension without leaving the readers wanting to quit out of frustration or confusion. I would like to say there is a correct way to pace things, but it depends entirely on the story and situation.

Action scenes, for example, move very quickly, whereas a scene with a lot of dialogue will move at a snail’s pace. A spicy scene will emulate real life, moving slowly at first and increase its pace. A dramatic scene can be either fast or slow, depending on what it contains.

There are the peaceful scenes that do not move the same as any other kind of scene, showing the contentment of characters, the sun setting, or moving from one place to another. In writing or showing these scenes in a comic, it will go very quickly but the reader will perceive them as slow.

Showing a car ride, or a cooking scene allows characters to reflect on what has been happening and offers character development, but it does not have that tension at all. Still, adding those scenes is like adding bread to your butter. Now, everyone has their own tastes, but I would find it very odd to find someone who would consume just butter, especially if it was unsalted. Adding those peaceful scenes makes the ones that aren’t, all the more impactful, to both your readers and your characters.

The calm before the storm does wonders in storytelling, but the one thing you want to avoid is spending too much time in that calm. An example of this would be The Hobbit. Now, I love The Hobbit. It’s a classic hero’s journey, with a deep world build and rich characters, but parts of it are unnecessarily wordy. There is a page that describes the moss on the trees in such detail that you can taste it, which shows Tolkien’s skills as a wordsmith, but it was ultimately padding.

waits for the rage. Padding; words that don’t move your plot forward and only add to your word/panel count. Padding or filler should not be confused with peaceful scenes. Peaceful scenes will add to your story, padding will not. The literary world has changed a lot since Tolkien wrote The Hobbit, and we can see that evident in modern literature by the fact that there would hardly be a mention of trees at all, let alone the moss that grows upon them.

The next subject of pacing is sentence variation and flow. Now, flow is a tricky subject, and is not often resolved during the initial draft. When I am editing, things will sometimes be in the wrong order and disrupt flow. When flow is off, tension wanes, and when tension wanes, readers will lose interest. There may be entire scenes that I think don’t work where they are, but rather than delete those scenes, I find a place where they fit better. Perhaps that place is earlier, perhaps it is later. If you thought that scene was necessary when you wrote it, perhaps there is a proper place for it.

In A Galactic Star, the episode titled Repercussions, was supposed to happen right before the climax. I moved it up to allow the reader to understand Chrome’s hesitations between him and Neon.

Even in comics, you aren’t going to necessarily catch things after you just completed them. Many indie creators will recommend a space between writing the initial draft and editing it. The amount of time varies per person, but it is suggested to at least give it a day. The reason is because of the completion high; You just created this thing and in your mind it is amazing and awesome, not seeing the mistakes that are there. I feel as though editing is like polishing a stone; Every stone, no matter how grey or plain in appearance, can be polished into a stunning masterpiece if given enough time.

The editing process has multiple phases, the first is checking for spelling and grammar mistakes, and the second is checking the sentence structure for flow. Example: The loud dog barked. Vs. The dog barked loudly. The first is grammatically correct but makes you pause to process, whereas the second will allow you to move on to the next sentence without that stop.

Flow is a key component in pacing, which is a key component in tension, which keeps your readers engaged. As a potential reader of your story, I hope this will help you to bring it to life.

STOP DOING THIS IN INJURY FICS!!

Bleeding:

Blood is warm. if blood is cold, you’re really fucking feverish or the person is dead. it’s only sticky after it coagulates.

It smells! like iron, obv, but very metallic. heavy blood loss has a really potent smell, someone will notice.

Unless in a state of shock or fight-flight mode, a character will know they’re bleeding. stop with the ‘i didn’t even feel it’ yeah you did. drowsiness, confusion, pale complexion, nausea, clumsiness, and memory loss are symptoms to include.

blood flow ebbs. sometimes it’s really gushin’, other times it’s a trickle. could be the same wound at different points.

it’s slow. use this to your advantage! more sad writer times hehehe.

Stab wounds:

I have been mildly impaled with rebar on an occasion, so let me explain from experience. being stabbed is bizarre af. your body is soft. you can squish it, feel it jiggle when you move. whatever just stabbed you? not jiggly. it feels stiff and numb after the pain fades. often, stab wounds lead to nerve damage. hands, arms, feet, neck, all have more motor nerve clusters than the torso. fingers may go numb or useless if a tendon is nicked.

also, bleeding takes FOREVER to stop, as mentioned above.

if the wound has an exit wound, like a bullet clean through or a spear through the whole limb, DONT REMOVE THE OBJECT. character will die. leave it, bandage around it. could be a good opportunity for some touchy touchy :)

whump writers - good opportunity for caretaker angst and fluff w/ trying to manhandle whumpee into a good position to access both sites

Concussion:

despite the amnesia and confusion, people ain’t that articulate. even if they’re mumbling about how much they love (person) - if that’s ur trope - or a secret, it’s gonna make no sense. garbled nonsense, no full sentences, just a coupla words here and there.

if the concussion is mild, they’re gonna feel fine. until….bam! out like a light. kinda funny to witness, but also a good time for some caretaking fluff.

Fever:

you die at 110F. no 'oh no his fever is 120F!! ahhh!“ no his fever is 0F because he’s fucking dead. you lose consciousness around 103, sometimes less if it’s a child. brain damage occurs at over 104.

ACTUAL SYMPTOMS:

sluggishness

seizures (severe)

inability to speak clearly

feeling chilly/shivering

nausea

pain

delirium

symptoms increase as fever rises. slow build that secret sickness! feverish people can be irritable, maybe a bit of sass followed by some hurt/comfort. never hurt anybody.

ALSO about fevers - they absolutely can cause hallucinations. Sometimes these alter memory and future memory processing. they're scary shit guys.

fevers are a big deal! bad shit can happen! milk that till its dry (chill out) and get some good hurt/comfort whumpee shit.

keep writing u sadistic nerds xox love you

ALSO I FORGOT LEMME ADD ON:

YOU DIE AT 85F

sorry I forgot. at that point for a sustained period of time you're too cold to survive.

pt 2

also please stop traumadumping in the notes/tags, that's not the point of this post. it's really upsetting to see on my feed, so i'm muting the notifs for this post. if you have a question about this post, dm me, but i don't want a constant influx of traumatic stories. xox

WANG XINGYUE as XIAO HENG The Double 墨雨云间 (2024) – Ep. 37

just take me to a walkable city with good and clean public transportation and multiple parks and i'll be happy forever

Writing Notes: Antihero

An antihero - a central character who lacks the characteristics an audience associates with a conventional hero.

They are ambiguous protagonists—complex characters who have a dark side.

Despite a flawed exterior, a history of bad decisions, and even a questionable moral code, an antihero is ultimately guided by good intentions.

Tips for Writing an Antihero

Despite their flaws, antiheroes are realistic characters that readers can relate to. Here are four tips for creating a great antihero for your story:

Create a main character who is complex. Think of how you would write a traditional hero. Create your antihero by giving them the opposite attributes. If a hero is an idealist, your antihero is a cynic. Make them mysterious so their character is revealed bit by bit. A great antihero has flaws just like a real person. But despite an antihero’s weaknesses, their good side is illuminated as the story progresses. These contrasting qualities make an antihero more complex and interesting.

Give your antihero internal conflict. Every great antihero has an internal struggle driving their actions. Before you begin writing, sit down and flesh out the character. What event is the source of their internal struggle that informs their behavior in the story? As you write, slowly reveal your antihero’s backstory to let readers know what makes them tick.

Don’t confuse your antihero with the antagonist. For the antiheroes with misguided morals, the ends justify the means. They can explain away the bad things they do if the result is ultimately good and they emerge a hero. When writing an antihero, you can bring them to the edge of evil, but they’re never as evil as the true villain of your story. Unlike an antagonist, an antihero ultimately believes they are acting for a noble cause. Some characters, like the DC Comics character Harley Quinn, alternate between being an antihero and an antagonist, depending on the context.

Use supporting characters. In the TV show The Sopranos, antihero Tony Soprano had his therapist, who showed Tony’s vulnerability and made the audience have a soft spot for a guy who ordered a hit as easily as he ate a bowl of pasta. Create a side character who can illuminate your antihero’s redeeming qualities. The best antiheroes are the ones readers can’t believe they’re rooting for.

Types of Antiheroes

Think about the rough-around-the-edges antihero Han Solo compared to the traditionally heroic Luke Skywalker. Antiheroes go against the grain and are often social outcasts who operate by their own rules. Here are different antihero archetypes found in fiction:

The pragmatic rebel: The pragmatic antihero is a realist. They might associate with both good guys and bad guys and take whatever action they deem necessary to accomplish their mission. Their morals are, for the most part, good, but they won’t hesitate to do what’s needed to be heroic—even if that means taking out a few bad guys. They won’t intentionally cross a line unless it’s for the greater good, and they may still follow the steps of the hero’s journey.

The unscrupulous antihero: This is the antihero whose morals fall into a grey zone. They have good intentions but are driven more out of self-interest rather than the greater good. They can be cynical and have a jaded view of the world. Their actions are often dictated by past traumas and inner conflict, revealed through their backstory. They don’t think twice about how they achieve their goal and who they need to push out of their way, and they sometimes even enjoy the dark side. Annaliese Keating, the antihero played by Viola Davis at the heart of the show How to Get Away With Murder, is cutthroat and morally compromised, but her motives begin to make sense as the audience gets a deeper look into her inner life.

A hero by any means necessary: The titular antihero protagonist of the television series Dexter (as well as the novel it’s based on, Darkly Dreaming Dexter by Jeff Lindsay), borders on being a villain. Antiheroes like Dexter Morgan justify their behavior because it results in something that benefits society, even though their actions are questionable—and sometimes even psychotic. For example, Dexter might have good intentions as a vigilante serial killer of other killers, but his deeds are those normally associated with an antagonist.

Example: Walter White

Walter White is the main character of the TV series Breaking Bad.

As a man dying of cancer, White begins to make and sell methamphetamine to save money to support his family after his death.

As the series progresses, Walter White’s character arc is dramatic as he moves through the ranks of antihero archetypes, crossing every moral line and almost assuming the role of villain.

Told from any other point of view, Walter White would be the antagonist of this series but instead he is an antihero.

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