luace-ferareoftumbler

Latest Posts by luace-ferareoftumbler

Mohammed is dying... and I'm living his death every moment 💔

This isn't a plea... it's a scream buried deep in my chest for days, burning inside me like embers.

No one hears, no one feels, and my child is being slowly slaughtered in front of me. All I have are my eyes to cry with and my empty hands.

My child, Mohammed... a piece of my soul, is fighting death alone, his air gradually narrowing.Severe lung infections are tearing at his tiny chest, and looking at his face has become torture... because he asks me with his eyes: "Father, mother... why don't you save me?" And I have no answer... except crying.

They told me: There's an operation.

They said: There's hope.

But they didn't ask: How can I buy hope when I can't afford it?!

I don't even have enough money to buy my son a breath...

Will I sit by his side and watch him suffocate until he dies? Is this my fate? To be buried alive while I watch him being ripped from my arms without even screaming?

What kind of life is this that makes a father or mother beg to prevent their child's death? What kind of world is this that makes us count our children's breaths as money?

Mohammed is dying in front of me... and I'm dying a thousand times with him

gofundme.com

Donate to Help Ahmed Hammad Provide For His Family, organized by Casimir Reynolds

My name is Casimir, and I am organizing this fundraiser on behalf of Ahmed H… Casimir Reynolds needs your support for Help Ahmed Hammad Prov

Please... don't let me embrace his cold body and apologize to him for not being able to save him.Don't let this day come... don't let his soul fly away because we are poor.Help me... before the light in my eyes is extinguished forever.

Verified : @90-ghost

Verified:@bilal-salah0

Vetted by @gazavetters, my number verified on the list is ( #576 )✅️

@sawasawako-archived @memingursa @schoolhater98 @rickybabyboy @valtsv @komsomolka @prisonhannibal @hotvampireadjacent @r0zeclawz @marxism-transgenderism @teaboot @boobieteriat @chokulit @3000s @ot3 @90-ghost @apas-95 @punkitt-is-here @b0tster @vampiricvenus @ankle-beez @punkitt-is-here @b0tster @vampiricvenus @ankle-beez @feluka-blog-blog @postanagramgenerator @memingursa @certifiedsexed @afro-elf @11thsense @spacebeyonce @dailyquests2thequestening @beserkerjewel @beetledrink @spaghettioverdose @specialmouse

@grox @minmos @paparoach @slimetony @redbuddi @liberalsarecool @paparoach @slimetony @redbuddi @liberalsarecool @charlott2n @juney-blues @aflo

#Mohammed_is_dying

#A_call_from_the_grave_of_pain

#Don't_extinguish_his_breaths

#I_am_burying_him_alive

#Help_me_save_my_soul

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

i miss vatanim sensin everyday ever since i watched it. i don't think a show has ever caused me so much impact. i love them so much.

i went into it almost completely blind (i had seen one tik tok edit of leon), 60+, 2 hour long episodes later it became one of my (if not the most) favourite shows ever.

sometimes i'll watch some scenes on youtube because i miss watching it so much.

but i can't rewatch it, i have no time, hoe do you rewatch a show that has 2 hours + long episodes.

so frustrating.

anyways, if you haven't already, and you love classical romances, go watch it, it's perfection. it's classical, tragic romance, and history based.

i knew nothing of ottoman empire and turkey x greece conflicts before this show, and it interested me so much i researched a lot of it afterwards.

honestly vatanim sensin was a life changing experience for me, not even kidding.

I hate how hot military men is like portrayed in the media because in real life military men are the worse I avoid then like a plague the only exception would be leonidas 😭

no because it's always them damn MILITARY MEN

I think I'm in love (again) - someone tell me I'm not crazy and that he really does look like ATJ in Anna Karenina

“Dear Yildiz, Your words,your feelings are very familiar to me. The future is uncertain for all of us and I am in deep worry for you too. With feelings difficult to explain I’m trying to find my way out of a storm.I don’t even know where I’ll end up yet I hold some hope inside me. I’m doing everything in my power not to lose that hope. I imagine those eyes that help me find my way,those eyes that every time they look at me, they drag me to “heaven”. I find in myself the strength so that I can live one more day in that dream. You can’t imagine how much hurts my soul the possibility that those eyes may look at somebody else. My biggest wish is through this storm together with the owner of those eyes to make it to the same shore. However neither the owner of those eyes nor the person I want to reach the same shore is you. There’s no future between you and me. I’m writing this letter so that you won’t be left with any doubt in your mind. All your feelings regarding me are inane and unrequited. I ask you to accept this and find your own way.”

— Leon

The actual greek letter and its translation

Μαζί σου, έμαθα καινούργια πράγματα που δεν ήξερα για μένα. Στην αρχή δεν μπορούσα να δεχτώ αυτή την απαγορευμένη αγάπη, αλλά τώρα όταν σε βλέπω, τα αισθήματα μου ξεχειλίζουν.

Αγαπώ μια χώρα και μιλάω μια γλώσσα που δε γνώριζα καθόλου. Όσο περισσότερο γνωρίζω τη χώρα σου, τόσο περισσότερο σε καταλαβαίνω. Ξέρω από που πηγάζει αυτό το πάθος σου και όλο και πιο πολύ το θαυμάζω και αγαπώ.

Το χρώμα του δέρματος σου και τα μάτια σου μου θυμίζουν το γαλανόλευκο της σημαίας μου και πιστεύω στην αιωνιότητα του αστεριού της σημαίας της πατρίδας σου που ταξιδεύει στο κόκκινο χρώμα της και συμβολίζει τη ζωή, που εσύ δε θα διαστάσεις να θυσιάσεις.

Για μένα είσαι όλα τα λάβαρα όλων των Εθνών, όλου του κόσμου. Όταν σε σκέφτομαι τα σύνορα, το χρώμα κάθε ανθρώπου και τα σύμβολα τους χάνονται. Όταν σε σκέφτομαι χάνομαι.

——————————

With you, I learn new things I didn’t know about myself. At first I couldn’t accept this forbidden love, but now when I see you, my feelings boil over/overwhelm me.

I love a country and I speak a language I never knew. The more I get to know your country the better I understand you. I know the source of your passion and more and more I admire and love it.

The color of your skin and your eyes remind me of the blue and white of my flag and I believe in the eternity of the star on your country’s flag that travels/sails on its red color and embodies the life you won’t hesitate to sucrifice.

For me you are the flags of all the nations, of all the people. When I think of you the borders, the color of every person and their flags disappear. When I think of you I disappear.

“Teach me how to love you Because I don’t know how to do it. Moments like this I stay alone with something impossible to describe. For that reason I want to build a new world and I want just you next to me in that world. Teach me how to love you. Let’s define everything anew. Let’s invent a new language for ourselves and let’s confess our love to each other in that language that no one else knows. Teach me how to love you. And I will teach you about bravery… How countries and borders will collapse for the sake of our love. And now I’m saying the most painful thing of all; I write letters you’ll never read and day by day I lose my own essence on these lines. I don’t know also what will be left of me. You, me, love, separation, death, life? I beg you, teach me how to love you. I beg you Hilal, promise me a country where we will live and die together.”

— Leon

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.

Source ⚜ More: References ⚜ Writing Resources PDFs

When your Character...

Gets into: A Fight ⚜ ...Another Fight ⚜ ...Yet Another Fight

Hates Someone ⚜ Kisses Someone ⚜ Falls in Love

Calls Someone they Love ⚜ Dies / Cheats Death ⚜ Drowns

is...

A Ballerina ⚜ A Child ⚜ Interacting with a Child ⚜ A Cheerleader

A Cowboy ⚜ A Genius ⚜ A Lawyer ⚜ A Pirate ⚜ A Spy

A Wheelchair User ⚜ A Zombie ⚜ Beautiful ⚜ Dangerous ⚜ Drunk

Funny ⚜ In a Coma ⚜ In a Secret Society ⚜ Injured ⚜ Shy

needs...

A Magical Item ⚜ An Aphrodisiac ⚜ A Fictional Poison

A Coping Strategy ⚜ A Drink ⚜ A Medicinal Herb ⚜ A Mentor

Money ⚜ A Persuasion Tactic ⚜ A Quirk ⚜ To be Killed Off

To Become Likable ⚜ To Clean a Wound ⚜ To Self-Reflect

To Find the Right Word, but Can't ⚜ To Say No ⚜ To Swear

loves...

Astronomy ⚜ Baking ⚜ Cooking ⚜ Cocktails ⚜ Food ⚜ Oils

Dancing ⚜ Fashion ⚜ Gems ⚜ Herbal Remedies ⚜ Honey

Mushrooms ⚜ Mythology ⚜ Numbers ⚜ Perfumes

Roses ⚜ Sweets ⚜ To Argue ⚜ To Insult ⚜ To Kiss

To Make False Claims ⚜ Wine ⚜ Wine-Tasting ⚜ Yoga

has/experiences...

Allergies ⚜ Amnesia ⚜ Bereavement ⚜ Bites & Stings

Bruises ⚜ Caffeine ⚜ CO Poisoning ⚜ Color Blindness

Facial Hair ⚜ Fainting ⚜ Fevers ⚜ Food Allergies

Food Poisoning ⚜ Fractures ⚜ Frostbite ⚜ Hypothermia

Injuries ⚜ Jet Lag ⚜ Kidnapping ⚜ Manipulation ⚜ Mutism

Pain ⚜ Paranoia ⚜ Poisoning ⚜ More Pain & Violence

Scars ⚜ Trauma ⚜ Viruses ⚜ Wounds

[these are just quick references. more research may be needed to write your story...]

Writing Resources PDFs

Writing Description Notes:

Updated 9th September 2024 More writing tips, review tips & writing description notes

Facial Expressions

Masking Emotions

Smiles/Smirks/Grins

Eye Contact/Eye Movements

Blushing

Voice/Tone

Body Language/Idle Movement

Thoughts/Thinking/Focusing/Distracted

Silence

Memories

Happy/Content/Comforted

Love/Romance

Sadness/Crying/Hurt

Confidence/Determination/Hopeful

Surprised/Shocked

Guilt/Regret

Disgusted/Jealous

Uncertain/Doubtful/Worried

Anger/Rage

Laughter

Confused

Speechless/Tongue Tied

Fear/Terrified

Mental Pain

Physical Pain

Tired/Drowsy/Exhausted

Eating

Drinking

Warm/Hot

Other Words for "Look" + With meanings | List for writers

Many people create lists of synonyms for the word 'said,' but what about the word 'look'? Here are some synonyms that I enjoy using in my writing, along with their meanings for your reference. While all these words relate to 'look,' they each carry distinct meanings and nuances, so I thought it would be helpful to provide meanings for each one.

Gaze - To look steadily and intently, especially in admiration or thought.

Glance - A brief or hurried look.

Peek - A quick and typically secretive look.

Peer - To look with difficulty or concentration.

Scan - To look over quickly but thoroughly.

Observe - To watch carefully and attentively.

Inspect - To look at closely in order to assess condition or quality.

Stare - To look fixedly or vacantly at someone or something.

Glimpse - To see or perceive briefly or partially.

Eye - To look or stare at intently.

Peruse - To read or examine something with great care.

Scrutinize - To examine or inspect closely and thoroughly.

Behold - To see or observe a thing or person, especially a remarkable one.

Witness - To see something happen, typically a significant event.

Spot - To see, notice, or recognize someone or something.

Contemplate - To look thoughtfully for a long time at.

Sight - To suddenly or unexpectedly see something or someone.

Ogle - To stare at in a lecherous manner.

Leer - To look or gaze in an unpleasant, malicious way.

Gawk - To stare openly and stupidly.

Gape - To stare with one's mouth open wide, in amazement.

Squint - To look with eyes partially closed.

Regard - To consider or think of in a specified way.

Admire - To regard with pleasure, wonder, and approval.

Skim - To look through quickly to gain superficial knowledge.

Reconnoiter - To make a military observation of a region.

Flick - To look or move the eyes quickly.

Rake - To look through something rapidly and unsystematically.

Glare - To look angrily or fiercely.

Peep - To look quickly and secretly through an opening.

Focus - To concentrate one's visual effort on.

Discover - To find or realize something not clear before.

Spot-check - To examine something briefly or at random.

Devour - To look over with eager enthusiasm.

Examine - To inspect in detail to determine condition.

Feast one's eyes - To look at something with great enjoyment.

Catch sight of - To suddenly or unexpectedly see.

Clap eyes on - To suddenly see someone or something.

Set eyes on - To look at, especially for the first time.

Take a dekko - Colloquial for taking a look.

Leer at - To look or gaze in a suggestive manner.

Rubberneck - To stare at something in a foolish way.

Make out - To manage to see or read with difficulty.

Lay eyes on - To see or look at.

Pore over - To look at or read something intently.

Ogle at - To look at in a lecherous or predatory way.

Pry - To look or inquire into something in a determined manner.

Dart - To look quickly or furtively.

Drink in - To look at with great enjoyment or fascination.

Bask in - To look at or enjoy something for a period of time.

Gumroad

The Writer's Scene Workbook

Calling all aspiring storytellers with hearts full of whimsy! Get ready to sprinkle a touch of enchantment into your scenes with my Scene Wo

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Writing Notes: Villain Archetypes

Many of the great villains that oppose classic heroes fall into a handful of villain archetypes:

Anti-villain: The anti-villain is a villain archetype in which the bad guy has a sympathetic motivation or appealing characteristics. In the same way that an anti-hero is ostensibly a good guy with villainous or immoral tendencies, an anti-villain may have justifiable, noble goals or even a good side. Example: Hannibal Lecter in The Silence of the Lambs (portrayed by Anthony Hopkins in the film version).

The beast: A classic villain whose goal is to terrorize and attempt to defeat the main character, the beast is a literal monster. This type of villain cannot be reasoned with and is often found in the horror or science fiction genres. The whale from Moby Dick and the shark from Jaws are examples of this type of villain.

The bully: Bullies serve as simple, straightforward opposition to the protagonist. This character archetype is sometimes marked by a backstory that explains their mean and oppressive tendencies, such as a childhood marked by abuse or insecurity. Other times, they are simply mean for the sake of being mean. Examples include Nurse Ratched from One Flew Over the Cuckoo’s Nest and Fletcher from the film Whiplash.

The machine: The machine is similar to the beast, with one major difference: It is a technological construct and is therefore lifeless and incapable of pain, fear, and emotion. The machine can often be found in science fiction thrillers—like Ultron in Avengers: Age of Ultron or Arnold Schwarzenegger’s robotic killing machine in The Terminator.

The mastermind: The mastermind opposes the protagonist by overseeing a brilliant, diabolical master plan. They are a gifted schemer and evil genius who attempts to defeat the protagonist mentally as opposed to physically. Great villains in the mastermind tradition include Hans Gruber from Die Hard and Lex Luthor from the Superman series.

Evil incarnate: This villain personifies evil itself, offering little in the way of character development or backstory. This type of evildoer serves as an obstacle to the hero’s journey and is primarily found in fantasy and superhero genres. Examples include Sauron from The Lord of the Rings, Darth Vader from Star Wars, and the Joker from The Dark Knight.

The henchman: The henchman exists to do the dirty work of someone else, usually the mastermind or another major evil character in the story. They are functionally the sidekick of the main villain. Though they usually lack the villain’s brains, they make up for it in brawn. Examples include Boba Fett from Star Wars and the monkeys from The Wizard of Oz.

The fanatic: The fanatic’s villainy is driven by an extreme ideology. Oftentimes, they are propelled by religion or a twisted moral belief that gives them fuel to carry out their twisted mission. The serial killer John Doe from the movie Seven is a true villain in the fanatic tradition.

Tips for Writing Compelling Villains

When it comes to writing villains who transcend cliches, there are 4 techniques that can elevate your writing:

Make sure your villain has a strong connection to your hero. A true villain is inextricably connected to the hero and aids in the hero’s character development.

Make them a worthy opponent. A great villain is a strong and worthy adversary to your hero, directly opposing the hero archetype of your protagonist. The villain shouldn’t be weak and easily beaten, nor should they be so powerful that they can only be defeated by random chance. In the Sherlock Holmes stories, Holmes’s arch-nemesis Moriarty is a brilliant criminal mastermind. Having a villain who is equal in skill and intelligence to your hero will raise the stakes of their encounters, creating a credible threat to your hero.

Put yourself in your villain’s shoes. When it’s time for your villain to act, put yourself in their place. Think about challenges or hardships that might tempt people to act out or behave badly. How do you react to bad things? Tap into those emotions and try to apply them to your villain.

Consider your villain’s motivation. Why does your villain want to rule with an iron fist? Why do they want to put the damsel in distress? As with your main character, determining your antagonist’s motivation can help you unlock other aspects of their character, such as their goals and their personality.

Source ⚜ Writing Resources PDFs ⚜ Villains

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

sometimes you need dialogue tags and don't want to use the same four

you know the drill, op disabled reblogs etc etc etc

Prompt 2483

Supposedly, this type of glasses lets you see though dimensions.

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?!?'

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

The Double 墨雨云间 (2024) Dir. Bai Yun Mo, Lu Hao Ji Ji, Ma Shi Ge – Ep. 5-40

I'd do the same lmaoo

ALCHEMY OF SOULS: LIGHT AND SHADOW 환혼 : 빛과 그림자 — 2022, dir. Park Joon Hwa

accepting that i want a comfortable life rather than a successful one.

“Kill them with kindness” wrong. 5th level lightning bolt

Me cause if i plan the whole story I’ll overthink about the tiniest details😔

"Can't wait to see where you take this story" well I can't wait to see where this story takes me either

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💀

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

The public demo has been updated with almost 40k words.

In this update, you'll finally confront the thing in the shadows. 👀

I hope you enjoy. For now, this will be the last public update (I'll come back to edit the earlier chapters with new content, though). The rest of the chapters will be published for patrons and betatesters (closed alpha). Thank you for understanding.

Here is the link to the demo!

Scene & Summary: Mastering When to Use Which

Writers regularly need both scene and summary to tell a great story, but sometimes it can be difficult to discern when to use which, for best effect. Occasionally when editing another’s work, I find the writer made what really should have been summaries into scenes, and what really should have been scenes, into summaries.

This can weaken any story. Just imagine what The Hunger Games would have been like if Suzanne Collins summarized the high points of the Games—the cornucopia battle, the tracker jackers, or the mutts at the end. Then consider how slow and boring the story would be if she wrote a scene for every time Katniss went to bed or woke up and ate breakfast while in the Capitol. A high-stakes, fast-paced story would have turned into a drag—and would have been rejected before Effie could say “Primrose Everdeen.”

Writers run into this problem for several reasons:

They can’t yet tell the difference between scene and summary

They can’t yet discern what the story’s major turning points are

They feel too intimidated to write what needs to happen in a scene

They don’t know how to write a strong scene

They don’t know how to write a strong summary

Hi all, September C. Fawkes ( @septembercfawkes​ ) here for this week’s article. And I will be addressing each of these.

What’s the Difference Between Scene and Summary?

How can you know when to use which when you don’t really know what each is?

Here are the key features of scenes and summaries to help you develop a better eye for them.

Scene:

A scene will happen in real time. The audience will “watch” the characters move across the setting, interact, and speak, as if it is all taking place in the real world.

The characters will be acting within a specific location. They may be sitting at a kitchen table, or on an airplane, or venturing into a forest. Often (though not always) when a scene ends and a new scene begins, the location will have changed. (Alternatively, the story may have jumped forward or backward in time.)

Scenes are “shown” more than “told” to the audience. This means what happens is dramatized. We don’t tell the audience “Matt was angry for the whole dinner.” We show he’s angry through his behavior. He may make a passive-aggressive comment, complain his meat is undercooked, or, if he’s really angry, throw his drink at his girlfriend.

Scenes will be mostly concrete. Because a scene is dramatized, it will more likely appeal to our senses and the physical world and experience.

Summary:

A summary happens over condensed time, not real time. A sentence may span a day, a week, a month, a year. Summaries may talk about recurring events over a period of time, within one paragraph. They may relay past—or even future—events within a brief moment.

The characters or locations may change swiftly, or in some cases, may not even be present. The text may guide the reader through different places, people, or time frames with ease.

Summaries use more “telling” than “showing.” This is because what is happening isn’t in real time. This gives summary a stronger, guiding, narrative hand. Rather than experiencing the passage like the character, it’s more like the audience is being guided by a storyteller.

Because summaries use more telling and can move swiftly from one thing to another, they will be more abstract. They will convey ideas and concepts, rather than recreate specific experiences.

To illustrate the differences, check out these two examples from Ender’s Game.

Scene Example:

(Note: Because scenes often take place over pages, this is just part of a scene.)

Anderson palmed the locks that kept students out of the officers’ quarters; finally they came to where Graff had taken root on a swivel chair bolted to the steel floor. His belly spilled over both armrests now, even when he sat upright… . Time and tension were not being kind to the administrator of the Battle School.

“Seven days since your first battle, Ender,” said Graff.

Ender did not reply.

“And you’ve won seven battles, once a day.”

Ender nodded.

“Your scores are unusually high, too.”

Ender blinked.

“To what, commander, do you attribute your remarkable success?”

“You gave me an army that does whatever I can think for it to do.”

Summary Example:

Ender put them through the obstacle course twice, then split them into rotations on the tramp, the mat, and the bench… . He didn’t need to worry about exhaustion. They were in good shape, light and agile, and above all excited about the battle to come. A few of them spontaneously began to wrestle—the gym, instead of being tedious, was suddenly fun… . At 0640 he had them dress out. He talked to the toon leaders and their seconds while they dressed. At 0650 he made them all lie down on the mats and relax. Then, at 0656, he ordered them up and they jogged along the corridor to the battleroom.

Worth noting is that it is possible to mix scene and summary. For example, you may have a bit of summary within a scene that briefly provides background information. Or, you may write a long passage of summary that has short moments of dramatization. No need to get too strict on keeping summary out of scene or vice versa—but it is important to know the difference between them.

What Should be Scene and What Should be Summary?

A good rule of thumb is, the more important the moment, the more likely it needs to be rendered as a scene.

What Should be Scene

Scenes take place in real time, concretely, which means they are almost always more impactful than summary. Scenes immerse the audience powerfully into the story. We want to dramatize the most important parts for best effect.

If you are familiar with story structure, you can use it as a guide. Major turning points should almost unequivocally be scenes:

The inciting incident should be a scene.

The climax should be a scene.

The midpoint should be a scene.

And the high points in each act should be a scene.

And the pinch points should be scenes.

Anything the story has been building and building and building up to, should probably be a scene.

If you are working with multiple plotlines, all of the major events of the primary plotline should probably be a scene. The less important the plotline, the more you can get away with summarizing important events or even having those events happen “off page.”

Another rule of thumb is that if the moment significantly progresses the character arc, plot, or theme, it needs to be a scene.

Finally, most genres will have what professional editor Shawn Coyne (creator of The Story Grid) calls “obligatory scenes.” These are scenes that the audience expects to see in the story when they pick up the book. For example, in a murder mystery, we expect to have a scene where the body is discovered. In a romance, we expect to have a first kiss scene.

What Should be Summary

On the other side of the spectrum, we have summary. Not everything that happens in a story needs to be dramatized in a full-blown scene. The narrative would become long, flat, and boring.

Use summary when the audience needs to know the fact that something happened, but it’s not important for them to experience it.

For example, we may need to know the fact that Henry slept terribly last night because it will affect his test-taking skills in the next scene, but we don’t really need to share his experience of that. It may not be interesting enough to make into a scene, and if we try, it’d likely be dull. How much conflict can you really get out of that scenario?

Summary is also useful when you need to cover a broad length of time in a short amount of space, or when you need to talk about recurring events. If your characters have to go by sea to a new land, and the plot isn’t really about the boat ride, then you’ll be better off summarizing the voyage. And similarly—rather than rendering the fact that Macy is late to work every day, scene after scene, it will probably be more efficient to summarize that, since it’s a recurring issue.

Additionally, summary can work well to transition from one scene to another—particularly when something noteworthy happened between those scenes, but isn’t worth dramatizing.

Finally, summary can be important in providing the reader with context. It may be used to set up a situation or provide background information so the audience can follow what is happening in a plot accurately. For example, summary may be used to briefly explain an ongoing feud between two families, so that the reader will understand why Yolanda and her siblings are sabotaging the Greens’ block party.

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