🌼 Poems (and A Love Letter) That Helped Me Live Through July 🌼

Every single odd number has an “e” in it.

Your future self is hating you for the poor decisions you’re making today.

Those fucking brown eyes 🥺🥺

I hope you don't leave. I love you 💗💗

I have heard many men say that they want an "intelligent woman" in their life. I would encourage them to think well.

Girls and intelligent women make their own decisions, have their own desires and set boundaries. You will never be the center of her life because she revolves around them. An intelligent woman will not allow you to manipulate or blackmail her. She is responsible for her actions.

Intelligent girls doubt, analyze, debate, displease, progress. These women had a life before you appeared in their lives, and will continue to have it even when you leave their lives. Such women report, do not ask permission. They are not looking for a leader to follow, a father who solved their life, or a child to save themselves by guiding them. They do not want to follow you, nor are they willing to show the right way to others.

Intelligent girls know that living without violence is a right, not a luxury or a privilege. They express nervousness, sadness, pleasure and fear in the same way, because they know that fear does not make them look weak, nor does nervousness make them look "masculine". These two emotions, but also the others, all together, make it look humane and that's enough.

An intelligent woman is free because she has fought for her freedom. But she is not a victim, she is a survivor. Do not try to limit her, because she will know how to escape. An intelligent woman knows that her value does not lie in the physical aspect. Think twice before judging her age, height, weight or sexual behavior because this is emotional violence and she understands it.

So before you say you want an "intelligent woman" in your life, ask yourself if you are really ready to be a part of her life.

— Gabriel Garcia Marquez

Writing References: Narratives

Writing Resources Masterlist

Balancing multiple main characters

Dramatic irony

Editing Tip: How to Speed Up or Slow Down Your Pacing

First vs Third Person narratives

Guide to showing vs telling

How To Write Saucy Betrayals

Internal Conflict and the Lie the Character Believes

Mundane scenes are important

Narrative distance

Pacing and show, don’t tell in writing

Passive vs active voice

Tips for Writing a Difficult Scene

Tips on Introducing Backstory

Using Flashbacks in Fiction

What Is Showing vs. Telling Anyway?

Writing fight scenes

Writer's Guide to Time jumps

Writing intimacy in a scene

Writing sexual tension: will they or won’t they?

Writing The Opening Scene

Categories of Plot Twists

Anagnorisis: a character learns a new piece of information about themselves or another character. “Anagnorisis, or discovery, is the protagonist's sudden recognition of their own or another character's true identity or nature. Through this technique, previously unforeseen character information is revealed.”

Flashback: “Flashback, or analepsis, a sudden, vivid reversion to a past event, surprises the reader with previously unknown information that solves a mystery, places a character in a different light, or reveals the reason for a previously inexplicable action.”

Cliffhanger: “A cliffhanger or cliffhanger ending, is a plot device in fiction which features a main character in a precarious or difficult dilemma or confronted with a shocking revelation at the end of an episode of serialized fiction.”

Unreliable Narrator: “An unreliable narrator twists the ending by revealing, almost always at the end of the narrative, that the narrator has manipulated or fabricated the preceding story, thus forcing the reader to question their prior assumptions about the text.”

Peripeteia: Peripeteia is a sudden reversal of the protagonist's fortune, whether for good or ill, that emerges naturally from the character's circumstances. Unlike the deus ex machina device, peripeteia must be logical within the frame of the story.

Deus Ex Machina: Deus ex machina is a Latin term meaning "god from the machine." It refers to an unexpected, artificial or improbable character, device or event introduced suddenly in a work of fiction to resolve a situation or untangle a plot.

Red Herring: A red herring is a false clue intended to lead investigators toward an incorrect solution. This device usually appears in detective novels and mystery fiction. The red herring is a type of misdirection, a device intended to distract the protagonist, and by extension the reader, away from the correct answer or from the site of pertinent clues or action.

False Protagonist: A false protagonist is a character presented at the start of the story as the main character, but then disposed of, usually killed.

Non-linear Narrative: A non-linear narrative works by revealing plot and character in non-chronological order. This technique requires the reader to attempt to piece together the timeline in order to fully understand the story. A twist ending can occur as the result of information that is held until the climax and which places characters or events in a different perspective.

Reverse Chronology: Reverse chronology works by revealing the plot in reverse order, i.e., from final event to initial event. Unlike chronological storylines, which progress through causes before reaching a final effect, reverse chronological storylines reveal the final effect before tracing the causes leading up to it; therefore, the initial cause represents a "twist ending".

If you need us, we'll be listening to this rather heavenly playlist.

Grammar homework instructions: explain why this sentence is wrong

Me who has been passing grammar classes on pure instinct since 3rd grade: the brain worms told me so

short & impactful

"Stay."

"Just go."

"I hate you."

"Because I love you."

"Don't leave me."

"Leave me alone."

"I need space."

"Don't go."

"Talk to me."

"I want only you."

"You need to move on."

"Please, speak to me."

"This will end now."

"I want to forget you."

"Hate me."

"Why?"

"Lie to me."

"I can't do this."

"Tell me."

"I'm just afraid."

"Please, leave."

"You can't leave me."

"I need you."

"Don't do this."

"Just stop."

"It's over."

"Tell me the truth."

"I can't lose you."

"We're done."

"Please."