can you do me a solid

-I like what you got, Dib. Good job-

Wanted to draw this for so long now

I think for my descriptions I’m just gonna start typing up random cartoon quotes…

“SpongeBob, my legs are frozen solid. You’re going to have to cut them off with a saw!”
“I can’t do that, Patrick.”
“Why not?”
“Because I already CUT OFF MY OWN ARMS!”
“NOOOOOOO!”

i’m just gonna put this out there: if there’s anyone around with free time and a bit of creative energy, even the tiniest snippet of baberoe, snow medics, or foxhole cuddles OT3 where someone’s bad day immediately gets better when they can finally be in the company of their loved one(s) would really warm my heart atm.

yeah, i’m still kind of bummed about this day, and thank you by dido put me in the mood for that ship dynamic. so anyone who is in the position to do me a solid, thank you in advance <3

I’ve wanted to talk for So Long about the portrayal of anxiety in YOI but I’ve been having so much trouble putting together what I want to say in the most effective manner. I kept trying to come at this in a more analytical fashion, but considering that this is such a personally important topic to me, I’m going to try a more emotional approach. Something I don’t normally do.

So really, to start off, I wanna say that I’m so damn thankful for the way Yuuri is written. Really, seriously. I don’t think I’ve ever had the ability to relate more to character; Yuuri is close to a mirror of my own experiences with anxiety and it’s so fantastic to have a model of development and growth for me and people like me. I found the portrayal to be frighteningly accurate, from types of thoughts, behaviors, mannerisms… I think the episode that stood out to me the most in terms of Yuuri’s anxiety was ep7, aka Yuuri’s on-screen panic attack episode. 

The first thing I noticed was this: 

I can’t tell you how many times I’ve found myself in that exact position. I bounce my legs when I panic, just like Yuuri is doing here. Head in his hands, breathing heavily, bouncing and jostling limbs. This isn’t the Mary-Sue cutesy portrayal of anxiety–this is a real anxiety disorder. It’s not pretty. It’s not easy. It can’t be fixed with a single word or a touch or a person. Quite frankly, it’s ugly and you lose control of your body. 

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Truth or Truth

Requested anonymously: A one shot where the reader has never been able to orgasm through masturbation. When Dean finds out, he offers to help.

Warning: smut, masturbation

Word Count: 2300

A/N: Hope you enjoy, anon! XOXO

“Truth or truth?” Dean asks, grinning a little sideways in that way that lets you know he’s just the right amount of drunk.

Truth or truth is the game you play when you’re both feeling a little wound up, needing to blow off some steam. You’re too old for stupid dares and too nervous for dares that might actually make you touch each other, so you settle for sticking to truths. It never amounts to anything, but you both enjoy the sexy words said in the dark as you lie together on one bed, a bottle being passed between you, like you have a life and a personality outside of monsters.

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“Acceptance” as a part of emotional healing means “acceptance that this is where you are, and all positive progress will stem from this point in time, you cannot move forward from some imaginary point in the past or future, you can only begin from where you actually are.”

It does not mean “you need to learn to regard the shit situation you were/are in as acceptable.”

That shit that happened/is happening to you?  That is merely the reality of what has happened/is happening.  Your goal is not to say “it’s okay”, to forgive, to say “this situation is fine”.  You NEVER have to say those things if you don’t want to, and you SHOULDN’T say those things if they are not true, it will not make things go any faster.

Your goal is to be able to say “WELP, here’s where we are, in Bullshit City.  I guess we start from here.”

Acceptance is a realistic assessment of where you are and a willingness to begin from there.  It is a recognition that old patterns, whether positive or negative, cannot or do not have to continue.

And it’s not a 100% all-or-nothing thing.  Some days you will be a lot more level than others.  Some days you will be really angry or sad about what happened/what you lost/what is happening.  That’s okay.  But on many and eventually most days you will be a lot more focused on the future, and what you can do.  And believe me, that is SUCH a huge relief.

Soooo, if someone is encouraging you to think of “acceptance” solely as “contentment” or “totally at peace”, they are approaching it wrong, in a very not-helpful way.

If you are struggling, maybe it will help you to see that this important recovery stage is not an insultingly tall hurdle you have to jump with a smile on your face and perfect gracefulness.  

It is merely an end to foundering because you have found your new solid ground.  It will be a quiet, messy thing, and it may sneak up on you, but it will come.  And from there, you can go in many different directions.  New ones.  Ones you never imagined.

If you aren’t there yet, keep going.  Fight and scream and cry if you have to. All that shit is necessary shit!  Do what you gotta do!  Just keep slogging, and try to hold on to the fact that eventually, even if you don’t feel like it, you’ll get there.

The bad stuff will never be “okay”.  But YOU can be.  YOU can be okay.  You WILL be.

a sterek fic inspired by this stupid thing because how could I not

It’s a common saying among Stiles’ friends that he doesn’t have a lot of dignity. To be perfectly honest, Stiles agrees with them (as much as he argues against the point whenever they bring it up).

But this is probably a new low.

Well, not new-new, because this is into the fourth week of the habit and if he was a better person, he’d have stopped by now. He’s not a better person in this instance, but he’s made peace with it.

‘It’ being watching his stubbled neighbour jog past his place every morning in sweatpants and obviously non-supportive underwear. There’s a lot of movement down there. A lot.

“I mean, with that much jiggle, he’s gotta know, right?” Stiles asks his window pane, behind which he’s fake writing on his laptop.

They’re not quite neighbours, there’s about half a block between them for which Stiles’ sanity is thankful. Otherwise who knows what ludicrous amateur spying would have occurred.

As it is, he is very thankful he accidentally set his alarm for five am two (it was four) mornings in a row, because now he knows that this is a morning ritual for his neighbour.

Today hot neighbour is wearing the cut off, grey sweats. They’re a personal favourite of Stiles’ (better than the dark blue ones, which make it harder to see) because it means not only can he get a clear view of his neighbour’s dick as it swings forward against the fabric, but also his sweaty, perfectly muscled calves.

Stiles sighs out and bangs his head once against the window pane, a small punishment that is also part of the routine.

What is not part of the routine, is hot neighbour looking into Stiles’ window, and seeing Stiles’ face smooshed against the glass, after which he trips, possibly in disgust, or just simple distraction.

Stiles’ first reaction is to panic. He pushes his chair back from the desk and slams his laptop closed.

His second reaction is that he should call someone to come help.

His third reaction is to realise that, hold on, he can go and help.

Stiles rushes out his front door and into the chilly morning air.

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Hit Me Like A Ray Of Sun

“Bitty. Holy fuck.”

Bitty’s eyes fly open.

Ransom is only an inch from his face.

“Wake up, Bits.”

Bitty groans and holds onto the blankets but Ransom gets a good grip on them and rips them all off at once.

“Justin Oluransi I swear if you don’t let me sleep I’m never making pie for you again. I mean it. I need my rest. I was up late studying.”

Ransom snorts.

“I was to studying.” He only talked to Jack for ten minutes. Fifteen tops. “And if you don’t let me sleep for the remaining 25 minutes that I am allowed I am taking every single piece of dessert that I make here and bringing it to the LAX house. You’re going to ruin it for everyone.”

“Jeeze,” Ransom says with a roll of his eyes. “So dramatic. Just like your boyfriend.”

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Rhythm | Lee Joo Heon | One-Shot

jooheon (monstax) + you (reader)
word count: 7,233
warnings: i have no excuse for this flithy, graphic smut (that includes but is not limited to thigh riding, breath play, mild degradation, spanking, etc) and strong language (some slut shaming) and brief mentions of infidelity
a/n: i was inspired by the new mv and channeled that inspiration into a gang!au, bad boy jooheon sexy time fest and before you say anything yes i know he is a total squish in real life that’s why it’s called fiction :)

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Humans are weird: The lost colony

*Quick note before I start: This is the first installment in a series I’ve called the Lost Colonies which is largely about human society adapting to the strange environments of other worlds. You can read the other installments here: 2, 3, 4, 5, 6, 7. I’ve thoroughly enjoyed writing this series, but with my new work schedule I had to bring it to a close. If you’ve enjoyed this story follow me on here for my other writings. Thanks again to everyone who has reblogged, liked, replied, DMed, or otherwise shown their appreciation for this series. It means a lot to me that people enjoyed it and the love you’ve all shown me has really helped keep me going for these last few months.*

An adult Turic sits behind a desk jotting down notes as a recorder takes down the interview for future analysis.
“I understand that this entire ordeal has been stressful for you and your fellow colonists but due to your unique situation we would like to use this opportunity to better understand human culture. Please let me know if we need to stop or if there is anything I can do to make you more comfortable.”
The human, a younger female by the name of Kiara fidgets in her seat.
“No, I’m fine, I just haven’t ever seen an alien before. Hell, until a few months ago no one had ever heard anything but legends of people from outer space.”
The Turic looks down at his notes as he tries to reconcile this information.
“According to our research it says that your colony was originally founded just over 500 Sols ago. Are you saying that in that short amount of time your colony’s knowledge of spacefaring and other sapient races was erased?”
“I guess? What’s a Sol though? How long would that be?”
“Oh, a unit of time measurement based on the solar rotation of your home world. Prior to your race’s colonization of other worlds you referred to it as a year. For reference, you are estimated to be 22 Sols old.”
“Then yeah, that makes a lot of sense. We didn’t really have permanent settlements and had to keep moving. One of the older stories said that we came to our world in a fiery ship and that the remains of it could be found out in the wastes once a cycle. That’s what we call it when the Thaw comes back to the same point.”
“I have heard some of the other colonists mention this Thaw. This is the name for the habitable zone in which your colony exists, correct?”
“Yeah, you live in the Thaw, you move with the Thaw. The Thaw keeps you from burning or freezing as long as you work with it. It protects you, feeds you and keeps you alive, but it always moves so you need to move with it.”

The Turic frantically scribbles notes on its data pad.
“Fascinating. It appears as though your civilization has come to mythologize a natural phenomenon the way your ancestors on earth frequently would. Your colony was founded on a planet that was almost what we would call tidally locked. In essence one side of it always faced your neighboring star and it rotated as it spun around it so that the same side always faced it at all times. However the spin was off by a small fraction so that the planet gradually rotated to have a day/night cycle, but this cycle was so slow that it took roughly 50 Sols for a single rotation. This would have made for a narrow band of surviveable temperatures but one that was constantly shifting albeit at a slow pace.”
Kiara stared blankly at the Turic.
“Sorry, that went a little over my head. What I think I caught from that though is that one side of my world faced the light and one side faced the dark and we lived in the space between. Which yeah, that’s the Thaw.”
“I apologize, this is fascinating for me, I’m just curious as to how or why your people took what appears to be such a large step backwards in their technological capabilities.”
“Well, like I said, some of our stories say that we came from a fiery ship and that it can be found in the wastes. If my people really did come from another world, maybe we crashed and our technology broke. We do tend to keep on the move and we usually leave things behind when they break and can’t be fixed. I wasn’t old enough to remember seeing the great ship when my parents took me there and it was taken by the scorch a long time ago.”

The Turic stared at his data pad wondering how he would even begin to unravel all of this.
“Well, hopefully we can find some solid answers to this mystery someday, but I would like for you to tell me more about your colony. What is life like on your world?”
Kiara straightened up in her seat and smiled.
“My name is Kiara Williams. I’m a frost melt like my mother and father before me. We work on the very edge of the Thaw to make sure that the glaciers, mountains and streams run in the right ways when it comes time for the Thaw to reach them in full. We scout lands in the cold to find new sites for villages. We dig breaks in the ice to make sure that the largest sheets fall away from farms and villages. It’s bitter cold and dangerous work but it’s important and sometimes exciting.”
The Turic stared in an expression that would have been the human equivalent of slack-jawed.
“You colony had the technological equivalence of pre-industrialization. Are you saying that your people geoformed an ice world to ensure proper farmland using little more than steel tools and furs?”
“Well there are plenty of other jobs too. My brother is a farmer out in the warmer parts of the Thaw and I have a cousin who lives on the other end of it as a waste reclaimer.”
“And what is it that your cousin does?”
“He goes out into the scorch looking for broken things that can be fixed or things that were left behind by accident. Most people say that’s not a job for an honest person, but he has a real knack for finding stuff to sell. I heard he even managed to find a few relics off the great ship.”
The Turic made a note to track down this cousin immediately.
“Are those the only professions available?”
“Of course not. There’s bakers and builders and law makers but we do have to keep moving with the Thaw so most of us try not to stay in one place too long. It doesn’t help to get too attached. We can usually only get 3 or 4 harvests out of a plot of land before it gets too hot to grow. That’s why frost melts like me are so important to help scout the farms in advance.”

The Turic glanced at the blinking light on his recorder that was letting him know that his allotted time was nearly up.
“I’ll need to let you get back to your family unit soon, but is there anything else you can tell me about your colony or its culture?”
Kiara sighed. “Not really. Being a frost melt, I spend most of my days surrounded by ice as far as the eye can see. It’s strange and beautiful though. There’s massive mountains made of nothing but ice and I know that if I simply walk for a few hours towards out into the frost it would be cold enough to kill, but I know that I’m the one who gets to tame it. At times when the wind is calm I can breath the cold in deep and look out to the stars and wonder what it would be like to explore them too.”
Kiara looked down at her feet self consciously and laughed.
“I guess I can actually get to do that now huh?”
The Turic adopted the human expression of a smile.
“There is a lot of unexplored space out there. I’m sure the human race would be proud to have you back to help them seek it out.”

tfw when not even death can save u from dumb politics

eyyy it’s my Gangrel boi enjoying a Refreshing Beverage + two of his ghoul pals because they need some love too (or fanart at least)

this was just a random doodle at first inspired by my ‘vampire capri sun’ post but then i got in dat Art Mood™ and it got way more elaborate than i intended  ¯\_(ツ)_/¯

raspberrypop135  asked:

Hey! I'm currently 14 and I'm practicing on some animation for a year! I always dream of joining a animation studio! But I feel they might reject me or I'll never achieve my dream! Do I need to go to college? Do I seriously need a degree? Do I need some supplies to pay? Is it easy to join?! Sorry, I've been stressing out about this earlier! Can you give me some advice on how can i work in a animation studio? Thank you!

This is a lot of questions!  First of all, I need to ask you to calm down.

Stress can be a powerful motivator, but too much stressing and you start going backwards!  Remember, hon: you’re fourteen.  You do have time!

The decision to go to college is a big one, and believe it or not, it IS optional.  Think about it this way: if you were an employer for an animation firm, what would you be looking for in an employee?  Would you care about grades and degrees?  Or would you care more about the potential employee’s portfolio and ability to do the work you require of them?

The fact of the matter is, while school is absolutely important and you should do your best to learn as much as possible from it, you also need to bear in mind that not everything is gonna depend on your report cards and framed degrees in the future.  I myself went to university and got my BFA in animation there, but that was more because I personally believed I would significantly benefit from the education I might receive there.  But college isn’t for everybody, and for some, it can be a huge financial burden.  If you have the drive to teach yourself and do your own work without being prompted, and you think you have the stuff it takes to learn what you need to know on your own, then college might not even be necessary for you.

Basically: it helps.  But it’s not a requirement, per se.

As for the animation industry itself, I’m not gonna sugarcoat it: it is EXTREMELY difficult to get your foot in the door.  This industry is massively competitive, so would-be animators need to keep pace.  It’s not just about who you know, or about your skill, or even about luck: it’s a scary combination of all three.  The most important thing to understand is that it usually takes time, and you’re gonna fail many times over before you succeed.

I had the extreme fortune of attending CTNX right when a studio was hiring, which was ALSO right when I was graduating, and the studio ALSO happened to be looking for somebody who could do exactly what I could do.  Of course, I wouldn’t have been at this event had I not put forth the effort to prove to my family (who gifted me the tickets) that I was capable of taking full advantage of an opportunity if it was presented to me, and that I had the stuff to make it if I just had a break.

I actually interviewed for two studios at CTNX, but was offered a job only by the one.  In other words: I was rejected by the other.  The rejection was mitigated by the fact that I was accepted at the same time, of course, however that was more a stroke of good timing and luck than a given.  Had I not gotten this acceptance, I’d have had to go home and resolve myself to try again and not give up just because I failed the first time.

With regards to your supplies, I can’t tell you everything you’re going to need specifically.  You’ll need a method of animation, of course, that you can use freely – mine is Clip Studio Paint EX, to draw in, combined with Adobe Premiere CS6, to assemble my animations.  There are plenty of other programs that’ll do both at once, but which one works for you is going to depend on you alone.  You’ll also need to understand that, in the studio, you’re not guaranteed to be using the same software as you use at home.  For that reason, you need to be flexible, and you need to resolve to be a quick learner.  Some employers will train you right on the job.  Others will throw you to the sharks, and you gotta quickly learn to catch up on your own.  But learning curve on the job is only with regards to the program – if you don’t know the basics and how to make a good product even on your own software, they won’t teach you that.

The biggest thing is that you’ll need to do your own research!  Asking for advice is an excellent start, but like I said, I can’t tell you everything you’re gonna need – some of that, you’ll need to figure out on your own.  And I know that’s scary, but don’t worry – you’ve got plenty of time.

As some parting comments, I recommend you pick up a book titled “The Animator’s Survival Kit,” written by master animator Richard Williams.  I also HEAVILY suggest you take some life-drawing courses, whether they’re with a school or just somewhere in your area.  Trust me: you can NEVER know enough about how to draw what’s around you.  And while learning to draw “realistic” things might seem counter-intuitive for animation, which usually calls for a much more simplified drawing style for efficiency’s sake, you gotta know the basic rules before you can bend them and change them and simplify them.  Study your favorite animated movies, and even the ones you don’t much care for.  Pay attention to HOW things move, and why certain motions work so well in the contexts they’re given.  Pay EXTRA attention to when something doesn’t seem to work, and try to figure out why that may be.  If you can, find somebody to explain these things to – teaching others is the fastest way to teach yourself.  (You could even use a stuffed animal or a pet as your audience – sometimes, it’s all about listening to yourself explain it.)

anonymous asked:

Do you miss Edd?

I get asked this question roughly 2-3 times a day, usually from very young people, and I don’t answer it because I don’t want anyone to get grief from my audience. However, since you’ve asked me anonymously, I can speak freely.

What the fuck kind of a question is this? What an intensely fucking insensitive, asinine question. Of course I miss Edd. He was my friend and my partner and his death seemingly came out of nowhere. Fucking hell. Why do so many people ask me this? What is actually wrong with you? I never got to tell him what he meant to me; I never got to ask him what I should do if he died; I never even got to say goodbye. Then, instead of getting to grieve like a normal person, I had to obsess over his show for four solid years to the point that I barely remember what the actual man was like; all while being told that I was a leech, that I was raping his memory, and that he’d be ashamed of me. So yeah, not only do I miss him, but I don’t even know who I’m fucking missing anymore.

Does that answer your goddamn question?

5.5.17 // 7:05pm // guide to exam season

hello hello! i know i’ve been a little absent the past few days, but i had my last exam yesterday and now i’m finally home. i asked for advice/masterpost topic suggestions, so without further ado, here is my guide to exam season! (as requested by @rivkahstudies)

whether it’s high school finals, college finals or ap/ib exams, i’m sure we all know how it feels to have to learn (seemingly) all the knowledge ever known in a few weeks. here’s how to come out relatively unscathed:

1. pretty notes are nice, but they also take forever. i’m a huge fan of making summaries and study guides so, to spice up my notes efficiently, i pick two colored pens that I alternate between for each section/topic. 

2. on a similar vein, don’t use a billion different colors/pens/highlighters. it takes time to switch between pens or to pick up a highlighter. and to figure out what color the term/fact should be classified as. underlining and writing in all caps is just as effective to provide emphasis on something. and way faster.

3. study guides are your friend. like i said earlier, this is one of my favorite way to study for big cumulative exams. go through your notes (or the textbook) and summarize, but make sure you understand what you write down. write things in a way that makes sense to you (don’t just copy). going back over lecture notes is great because it forces you to put pieces together, calls things you didn’t get to your attention, and allows you to skip over concepts you are already very solid in.

4. learn from practice problems. if your teacher/professor give past exams or practice problems, use them. i like to go through them and, if i don’t know how to do something and wasn’t just being dumb, i take notes on key concepts/strategies used to solve the problem. this way, it’s on my radar and i can apply those strategies to other problems. if you really don’t have time (or are lazy like me), go through the solutions and take notes on any solution that you wouldn’t have immediately thought of. not quite as effective as actually doing them first, but it still helps.

5. memorize strategically. this one is really great for vocab or classes like ap spanish lit where you need to know facts about lots of different works. start by memorizing the “easy” ones that stand out. maybe you have a personal connection, or it’s the only work in that style or time period. i find starting there and working towards the more “difficult” works builds confidence and helps you be really sure of the ones you do know. if you get down to the end and there are two works you always get confused, at least you’ve narrowed down the list by having everything else locked in.

6. breathe. one of the worst things you can do is let yourself get overwhelmed (either while studying or while test-taking). don’t let yourself get to that point. if you need to take a step back, do it. pushing yourself too far can lead to a complete shut down, which will put you out of commission for (possibly) days and only fuel your sense of helplessness. exams are important, but they’re not so important that you need to sacrifice your well being.

best of luck with all your exams and please feel free to message me/send me an ask if you want more advice. i love giving it :D -m

Using prophecies in fantasy without making eyes roll

Good ol’ stand-bys, ubiquitous fantasy tropes, are difficult to avoid. And sometimes we don’t want to avoid them. Goddammit, sometimes you just need a good, solid prophecy to write the story your want to write. 

“It’s not my fault all these other people before me have written prophecies, too!” you say. 

And you’d be right. Unfortunately, they did. So us modern-day writers have to live with the it. So what do you do when you want or need to use a well-worn trope? 

Know the trope. Make it your own. 

Know that, no matter what you do, some readers will still hate it.

But you can’t make everyone happy, right? So let’s get started.

How-to guidelines from our predecessors

Prophecies in fiction have been used countless times. But there are reasons why we continue to use them. And while you don’t want to completely copy how it has been done before, we can all learn something from the basic form of real and fictional prophecies. 

1. Prophecies are often vague and general

The language and phrasing used in prophecies, because of its important and symbolic nature, tends to go for sounding mystic and grand over sensible and utilitarian. This language achieves its poetic goal, but as a price, the meaning can be allusive, vague, or even seem contradictory. 

A man named Jerry will kill a man in a fight on the corner of 3rd and Main on the fifth of January, 3820. 

On the dawn of winter in a forest of gray, when one life dims, another remains.

One of these actually gives you some useful information. The other could mean a vast array of different things at any point in time, but technically applies to the same situation. One of them (though poorly) reads more like something you’d find in a piece of fiction. 

2. Prophecies are often misinterpreted

There’s likely to be disagreement on the meaning of any yet-to-be-fulfilled prophecy. If it’s well-known, then common folk might take it to mean one thing, while the wealthy another. The well-educated might take it to mean one or two (or three or a thousand) things, while the uneducated take it to mean another. If there are two prominent schools of thought, then people might passionately disagree about the meaning. It’s possible that none of these interpretations are true. 

‘Tis the nature of vague and metaphorical language.

The culture of your world will influence how people treat the prophecy. Conversely, the prophecy and its interpretation might have a huge impact on the culture, government, or religion of your world. 

3. Prophecies are given in context

In the example above about the murder in winter, with no context that “prophecy” means basically nothing. Part of what creates nuances in interpretation of prophecies is variations in the understanding of the prophecy’s context. 

Upon the rebirth of the emperor, the dark messenger will be slain; the eagle will conquer the land.

In this sample, very little is made clear when there’s no context. We have no reason to care, let alone believe, what these words are trying to convey. But say that our myths tell the story of a vanished young emperor who would someday reappear to take his throne, that the messengers of evil are immortal, and that the eagle is symbolic of peace…

It all starts to make a bit of sense, doesn’t it? Any alteration in context, however, could vastly change the meaning. 

Prophecies don’t stand alone. They only work within their context. They aren’t created in a vacuum and they are not understood in a vacuum. Creating the vibrant world that surrounds your prophecy will go a long way to making it interesting and important.

4. Prophecies require a prophet

Why do people believe the prophecy? Why don’t they? When implementing a prophecy into your world, you need to pay attention to how people receive its message and ensure that that belief has a sensible backing. 

A prophecy came from the mouth (or pen) of a prophet. If the people of your world totally buy into the words of this prophecy, then there needs to be a reason. What made this prophet reliable? 

What not to do: There was this old woman and everything she said was totally batty…all except this one thing. This one thing will definitely be absolutely true, so help me, God.

Like any aspect of culture, the “why” factor is important. Why do people believe the prophecy? Why has it survived so many years? Or perhaps people don’t believe the prophecy…so why is that? 

Consider Nostradamus. He’s a pretty infamous prophet, even though only some of what he said every seemed true (and almost entirely in retrospect). For the most part, when you mention him, people will kind of laugh it off. It’s mostly a joke. However…his words might also be true! But it’s best not to put all your money on it. 

How are the words of your prophet generally received? How will this affect how your Important Prophecy™ is viewed and understood by the people?

“This Important Prophecy™ is believed because my story needs it to be believed,” is not a good reason. So make sure it runs deeper than that.

Pitfalls to avoid

1. Using a prophecy as a matter of course

Your prophecy should have a very integral part in your story and world. Using a pointless prophecy or using one just because you think, since you’re writing fantasy, you probably should, are one-way tickets to eye-rolls. 

Like any trope, if you’re sticking it artlessly into your story, then you doing the trope and yourself a disservice. Every element you choose to include in your story should drive it forward, should deepen your conflict or characters. No inclusion should be made flippantly. Be sure that if you’re including a prophecy, you use it to its full potential.

2. Making it too simple or mundane

If you’re doing it right, then your prophecy will be super important to your story. And if it’s super important, you’re going to want it to be super interesting. If a dull, run-of-the-mill Chosen One prophecy is, unironically, what your story hinges on, then you’re likely going to get some eye-rolls and, worse, readers who put down your book.

3. Going for too much

On the other end of the spectrum, prophecies that are convoluted or require the ten-page backstory to put into context are likely going to take too much attention away from your actual story. Prophecies tend to focus on one (general) event. It can cover a few facets of this one event, but if you try to outline too much you risk detracting from the here-and-now or getting too far in over your (or your character’s) head. 

Things to consider

  • Is the fulfillment of the prophecy a mystery even to your reader? Or does the story give the answer, leaving the path to the fulfillment to be the mystery?
  • Is your prophecy immutable? Is it Destiny and it will come true no matter what anyone does?
  • Is the prophecy self-fulfilling? How do the characters’ knowledge of the prophecy affect events? How might their ignorance of it? 
  • How does the fulfillment differ or align with the expectations held by the characters?
  • Did the prophet speak of their own freewill, with true foreknowledge, or were they a vessel for a deity, or some supernatural being?
  • How was the prophecy passed down to the present? Was it done so flawlessly, or might there have been translation, oral, or interpretation errors that happened along the way?
  • How widely accepted, or known, is the prophecy among the common people? 
  • How common are prophecies in general? Does this one stand out in some way? If so, how and why?
  • Does the prophecy give away an outcome, or does it simply set up a situation?
  • How detailed is your prophecy and how have those seemingly specific details been misinterpreted?
  • How certain is anyone that they understand the prophecy? 
  • If the prophecy proves to be false, how does that element find resolution within the structure of the narrative? (i.e. if you placed great importance on the prophecy with the intention of pulling the rug out from under your reader, how are you going to resolve the situation to keep them from feeling cheated?)

What do you think about the use of prophecies in fiction? What are some of your favorites or least favorites?

Happy writing!

Lesson 29: Spirit Work 101

By: Mama Bones

Live class date and time: 04/13/2017 at 6pm CST

Disclaimer: spirit work is a path that requires a lot of intuitive thinking and “feeling”, but it’s important that you not let things get toxic or dangerous with your emotional and mental health. Be aware that this is a path that deals with “talking to non-physical beings”; which can be dangerous for many types of diagnosed conditions. Please be safe and logical in your own practice. Spirit work is absolutely not required for the practice of witchcraft.

Primary focus on: basic communication/sensing


In this lesson, I will be working with nature spirits, not ghosts, as those are easier and honestly, more safe, for beginners. However it’s still vital that you are familiar with basic shielding and warding before putting this lesson into practice.

 I won’t go into detail on that since we’ve had at least one lesson and numerous references shared on the server that are in pins.


There are some important things to remember with spirit work.

           1.) Always shield, at least on a basic level, before working with a new spirit. It’s good policy to shield with spirits in general, regardless of how well you know them, but I’m not going to helicopter your longterm decisions. For myself, the only spirits I don’t actively shield around are my personal companions.

           2.) Be patient. Spirit work is NOT an instant gratification path, nor a constantly rewarding one. It’s difficult and frustrating. But the rewards can be entirely worth the frustration if you stick with it and remain as levelheaded as you can.

 

           3.) Be polite. This should go without saying, but you will not find spirit work successful if you’re a dick. Don’t be a dick. That’s not to say you have to be overly chatty or friendly. You can be logically cool, but still not be a dick.

           4.) Be logical. Yes, spirit work requires some openness to the esoteric and intangible. But don’t overwhelm yourself with daydreams and fantasies. Mundane is still mundane. Don’t force interaction. And remain aware of your physical surroundings. Don’t let yourself get in a bad or dangerous situation just for spirit interaction (i.e. a non-witch observing or prying, weather, lighting, laws, etc.).

 

Nature spirits

I am Hellenic, so I deal with them mostly in the sense of dryads and nymphs. But do feel free to treat them as you would for your path. The above rules should apply to all, regardless of your visualization of their “essence”, so to speak.


Do NOT choose a plant/tree that you or your family has caused damage to in the past. I.e. through landscaping, weeding, etc. Even if it was years and years ago, they remember. Especially trees. Trust me. If you are stuck in a situation where your family does harsh landscaping/poisoning of the plants in your yard, go to a park or friend’s house where you will be a neutral party.

I like to sit with them. When it’s a spirit I don’t know, I will sit near, but not touching/leaning. Definitely not crushing! Once you work with a spirit a lot and become friends, those rules may change. For example, I lean my back against my pine trees frequently. They like the physical affection.

Get comfy. This will likely take some time. Feel free to have a book out on your lap or headphones with music playing quietly if you are needing a cover for sitting outside for that long. I also encourage bringing water with you, both for yourself and as an offering for the plant. A snack doesn’t hurt, especially to help ground you afterwards.
You can bring a divination/communication tool as well if you want to try that route. I don’t personally use them for my spirit work, so I’m not good at instructing on that, but you can incorporate them into my lesson today I’m sure.

Place your hands on the ground lightly and focus on the feel of the earth, the soil. The temperature. The texture. If your sense of smell is sharp enough, focus on the smell of nature around you. Filter out human related sounds and focus on things like wind, birdsong, insects. If you’ve done meditation or trance-states before, what we’re trying to achieve is a light version of that. A receptive trance state. It’s very much similar to what you do for many kinds of divination, like Tarot, runes, pendulums, etc. It’s up to you on whether you would like to do this with your eyes open or closed. Please choose what makes you feel safe, especially if you are in a public area.

You want to stay quiet and observing for a couple minutes. You’re welcomed to let your mind wander and think- we aren’t going for traditional blank meditation by any means. Ideally you want your thoughts to be about nature and the plant you’re about to focus on, but it’s okay if other thoughts pop in.

After a couple minutes, you should gently start to focus your observation and thoughts on the specific plant. Do not touch it yet. But you may lean closer and smell it, look at it closely. Observe how the texture is of this plant up close. What colors it has. The shapes.

Now, after all that physical observation and use of your normal 5 senses, it’s time to try and exercise your non-physical observation and sense. I like to close my eyes for this, but it’s absolutely not required. It may help you “catch” the sense initially though if you want to try it for a minute or two and then open your eyes again for safety.

You will be reaching for something abnormal. It is hard for me to describe, but if you can’t snag the sensation, it’s okay. This is just an exercise that you want to practice regularly when starting out with spirit work. It’s not uncommon at all that it doesn’t work the first time. The best way I can describe it without narrowing it too much for individual experiencing of the sense, is you will get a “pop” sensation when the connection/sense clicks into place. But the way you experience the sense is entirely your own.

If you are able to sort of feel that connection to the plant, fantastic! If not, don’t worry but stay open. It could be that the connection will snap into place after you start the communication itself.

Now you’re going to do the meat of spirit work. Communication!

Talk to your plant. It does not have to be out loud. It does not have to be in English (although it does need to be a language you understand). Keep the inquiries pleasant and light initially. Don’t give your life story. Don’t talk about global warming. Like office parties, the weather can be a good opener, especially if it’s pleasant outside. Although discussing rain or storms is perfectly fine as well and not “upsetting” to plants.

For “replies”, you likely will not get them in comprehensible “human” language at first. That’s fine. It’s normal. The easiest thing to sense is vague emotions or concepts. Some people hear music/sounds. Some see pictures. Some get scents. It’s okay if you struggle with this. Continue carrying on your one sided conversation, remaining as open as your can to things that don’t “seem” to come from you.

You can ask if they need anything like water or soil loosened. Even if they don’t seem to need any tending, you can ask if they would like an offering (water is really the best offering, although you can bring a stone/crystal if you like as well). Keep in mind that if you are still struggling with sensing “replies”, it’s okay to give a splash of water as a good faith offering regardless. Don’t give it a bunch though, unless it looked very thirsty.

Honestly, you can keep this communication/conversation part going as long as you’re comfortable with. If you keep getting feelings or impressions, feel free to go until they start to sort of fizzle a bit. That’s a good way to know that the spirit is done talking for now. Don’t take it personally, there’s a variety of reasons why they’re “tired” of talking. Thank them for their time and wish them well.

You should end with the similar trancing actions that we began with- using your standard senses to connect with nature. Smelling, touching, listening, looking at the soil/grass and plants around you. Slowly ground yourself. Feel free to drink or nibble something at this time. If it helps you, turn your music up. Stretch slowly, rolling your joints.

You may feeling like you want to encourage that extra sense to linger and keep paying attention to it as you do mundane things. I do not recommend this, especially for beginners. For many people, your body is used to processing “peripheral” sensations from your other five senses without clogging up your ability to function smoothly. It takes a lot of practice for this to be possible with a new sense. Take it slow. Reach out for it only when you have the time to focus on it until you’re more comfortable and at ease with the sensations and impressions.

Spirit work comes more quickly if you direct your focus, so I do recommend going back to the same plant/tree and working with it more than once to try and strengthen that connection. Once you have one more solid connection under your belt, the others will come much more easily.

The biggest tip I want to leave you with though is to balance being practical/logical with that esoteric optimism. That’s what I’ve found has given me the best and safest baseline for my spirit work over the years.

Note: This technique can be tailored to work with communicating with your pets/animals, spirits that aren’t from this plane, and ghosts. Just remember to do the order of “centering, semi-trance state, connecting/communicating, withdrawing, grounding”.

Any questions?

i feel like video games like earthbound and undertale where you can walk around and see how everyone’s doing after beating the final boss to give you a real solid sense of closure have spoiled me and made stories that end more abruptly feel unfinished

  • Tracer: Wait, so me, Pharah, Genji, and Lucio are in charge?
  • Solider 76: As long as you think you can handle being head of the base for a day.
  • *Smash Cut to the base exploding, repeatedly*
  • Tracer: Lucio, this is all your fault!
  • Lucio: But you told me to do it.
  • Tracer: LIAR!
  • *another explosion*
  • submitted by avenger09
3

hello it’s me ur fav cartoon boy and i’m opening commissions this summer to help save up for my fall semester and also pokemon!!

  • you can find more references of my art here in my art tag
  • i have a pretty versatile style, ranging from cartoons to realism.
  • I accept payment via pay pal (9cryptid@gmail.com), before i start the actual sketching process.
  • be sure to check goods and services (no address needed, or else I will be fined and get in big monetary trouble!)
  • i have the right to refuse a commission for any reason.
  • feel free to hit me up with any questions, or if you want something not specified above, we can work something out!
  • you can contact me here on tumblr or at my email 9cryptid@gmail.com !

it’d really help me out if you could reblog this post!! thank you and here is a puppy for your time!!


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anonymous asked:

Bucky, I totally get the no hugging thing. Getting hugged makes me want to punch the hugger (most of the time; it's complicated; fucking sensory processing issues). People seem to figure out pretty fast that you don't do hugs. How would you recommend telegraphing an aversion to hugs, extended handshakes, arm pats, back pats, etc. to those around you, especially those who don't know you that well, for someone small, female, and (apparently) cute?

have you ever tried to pet a cat that didnt want to be petted? you have your hand directly over their spine, and as you lower it they just turn into a liquid and slide away, and you wind up petting the floor where they were. learn from the cats. 

to begin with, stand just outside easy arm’s reach with new people. it will make you seem a bit standoffish but will also make it take an awkward amount of effort to pat your shoulder or grab your arm. you can compensate for the physical distance by being actively engaged in the conversation, which i rarely bother with.  in social situations, find things to hold: a drink of some kind, your phone or wallet in the other hand, which means you dont have any hands free for hugs or handshakes. make the ‘sorry, cant, my hands are full’ shrug and smile when necessary. (or, if you are me, stare people dead in the eyes and scowl. that’s pretty effective.)  wear layers; distance the touch from your skin. with handshakes, having a limp grip is your enemy; instead, do a simple firm clasp and then release. usually people will get a ‘handshake over’ vibe easily after a you loosen, but if you’re limp-gripped the whole time, there’s no end signal.  and most people will get it–girls especially–if you just tell them youre not a big toucher. if youre down to give a white lie or two, say you’re getting over a cold and dont want to spread germs. 

when someone goes for a hug, close your body language; shoulders drawn up and head tilted down, hands close in towards center mass and elbows out, widening and sharpening your profile. this is the ‘im solid and pointy, dont grab me’ shape. add in widened eyes and a bit of a lean backwards and most people will get the idea that you do not want to be grabbed. feel free to say ‘sorry, not a hugger,’ if necessary, and possibly offer an alternative that you’re more comfortable with. people usually respond well to humorously-delivered overly-serious options like, ‘can we exchange Dignified Buisnessman Nods instead?’ or ‘the high-five of the emotionally stunted?’ this is a clint technique, and he rocks it when hes not feeling like being handsy with people. i just stick with my usual scowl and glare. as long as you make it clear that you dont dislike them, and arent trying to snub them, people tend to roll with alternative options. 

if theyre not okay with it or dont get the hint, find other people to hang out with. 

Trini may be a badass but she’s all about consent. She’s constantly asking Kimberly if it’s okay that she holds her hand and that she kisses her. Even if Kim clearly initiates the kissing or the cuddling, Trini double checks.

Kim asks her about it one day, and Trini just shrugs it off like it’s no big deal, “Well, just because we’re dating doesn’t mean you’re always going want to kiss me. So, I mean, the least I could do is make sure you do want to kiss me.”

Kimberly is so taken aback by how sweet Trini is. (Not that she didn’t know it before) and says something along the lines of “Well, you don’t always have to ask, I’m dating you for a reason.”

Trini just smiles and goes, “Can I kiss you now?”