anonymous asked:

As a novice artist who often feels ashamed and embarrassed and afraid of drawing sometimes (which severely hinders my own improvement) I just wanted to say thank you. From the bottom of my heart thank you so so much

its really something that makes me upset like why do people think its cool to shit on artists bc they are still learning? 

it isnr cool or funny? and i want you to keep drawing im so proud of you for trying your best i swear i am here anytime if you need to rant/want some low quality tips!!

one of the things that I wanted to address in RB and later books was like: the idea of recovery from mental illness and trauma, in that, there is like, no pristine state that you are ever going to return to, but you can learn to live with it, and have it no longer prevent you from living your life. You don’t like, magically get better and just become “normal” all of a sudden, but you can get to the point where you are no longer hindered or significantly prevented from living/doing things

hard 2 explain, because you would think this would all be about Anna but it’s not really meant to be, she’s like, one facet, one example.

btw this is not saying “ahah wow just Recover” that’s stupid as well as unreasonable. But w help from others and actively working w/ in yourself to improve, yeah you can achieve good things, and make progress to what you would prefer.

anonymous asked:

Before my ask, I just want to say that I appreciate you and your work. You are one of the witches whom I thoroughly respect and go to for information/inspiration and I hope that all goes well for you. On to my question: I feel that I've become a caricature of a witch. I've fallen into the armchair occultist trap and let myself build a reputation as a witch without actually doing anything to earn it. I fear this may hinder my progress but I'm not sure how to get out of my slump. Any suggestions?

Thanks anon, I’m very flattered. 

The armchair trap is familiar. Luckily, I always catch myself before I let it go too far. One of the first things I would think about is why you’re not just jumping right back into praxis. Do you feel unable to? Afraid to? 
I know that can sometimes screw me up; jumping right back into things that I don’t know I can handle. You just kind of have to eat that fear and take the leap. Jumping completely back isn’t the easiest option though. It’s one of the most effective, but it’s not the best if you feel like you can’t handle that. 
I’d also say that you could slowly push yourself back into a common practice. Start small. Do little things you think might work. For me, it’s always love spells. I just do some love spells for friends and I feel rather replenished once they’ve worked. For other people, it’s protection work. It varies a lot, but the concept is still there. 

The thing about arm-chairing it is that it’s great for research, but does nothing for actual progress. You could become one of the most knowledgeable witches by doing nothing but arm-chairing. However, you can’t become one of the most skilled, talented, or powerful witches just by doing that. If kept balanced, it can do well and serve as a breather from witch work when you need it. If that’s all that’s happening, it can halt progress completely. 

@requiodile you do your medieval times fic and I do my CW hatefuck fic, eh? I’m gonna have everyone be pretty miserable in mine I think. Like, the kid will not be in a good environment. Like, it’ll be:

-Born out of anger and neither man wants it (initially!). Because to Steve it’s almost a hinderance since he’s on the run but his body also won’t let him safely get rid of it and maybe he has a tender moment w/Sam or Bucky regarding it (dreaming up a white picket fence lol) and then grows attached. But it’s difficult bc the baby looks so much like Tony and he’s got his little baby hands planted on the TV screen as Tony (on screen) gives a live speech and everyone in the room feels slightly hysterical about the whole situation

-T'Challa defs gives the kid a toy

-Tony never wanted a baby but we all know he’s good with kids (Harley) so although he’s furious that he missed out on months of HIS OWN CHILD’S life, he decides he is the only one who can provide for this baby, not team Cap who is on the run

-Steve arrested, Tony spends a lot of money on the baby room, baby cries a lot because separation anxiety, everyone’s sad

-idk what then


It’s not okay to have your child be scared of you. That isn’t respect. That’s control. 

It’s not okay to have your child obey you at all times in order for you to love them. That isn’t high standards. That’s manipulation.

It’s not okay to force your child become what you wanted to become. That isn’t wanting the best for them. That’s living vicariously through them.

It’s not okay to take away your child’s basic needs as a punishment. That isn’t teaching them. That’s hindering them. 

It’s not okay to dictate your child’s sexuality or gender. That isn’t normalizing them. That’s repressing them.

It’s not okay to berate your child’s appearance or intelligence for being what you think is sub-par. That isn’t toughening them. That’s bullying them.

It’s not okay to take out your stress on your child. That isn’t parenting. That is abusing.

It’s completely okay to distance yourself from your parents. That’s not unloving. That, sometimes, is self care.

  • you: who's your favourite composer
  • me: mm i love me some clawed the boo sea
  • you: i've never heard of him!
  • me: or pole hinder mitt
  • you: who
  • me: or fee licks mend else on
  • you: ???
  • me: head fart greek
  • you:
  • me: heck tore barely owes
  • me: jewel mass a neigh
  • me: or to rain oh rest pee gay
  • me: hair rick wit tucker
  • me: are am catch at oar ian
  • me: salt and cow dye
  • me: john willy hams
  • me: bell a bar took
  • me: yo hand a may
  • me: hen rye purse hell
  • me: cammy san sons
  • me: leigh oh dell leaves
  • me: and tony oh viviality
  • me: pole duke has
  • me: france juice F. hiding
  • me: art oar oh markers
  • me: lend burns time
  • me: duh meet rye shots her cove itch
  • me: and tonne brick nor
  • me: bed riches met anna
  • me: me kyle gull inker
  • me: john sir bail he us
  • me: all hicks under glass urn off
  • me: rich hard S. trounce
  • me: yo hannah's bra mmmmmmmmmmmmms
  • me: ant on in vore jack
  • me: sir gay pro coffee elf
  • me: rich hard walk nor
  • me: free the rick shopping
  • me: fee licks mend L. son
  • me: sir gay rack man in off
  • me: lay uphold moats art
  • me: more E's rave L.
  • me: car L. kneel son
  • me: purse E. grange her
  • me: sea pee E. bark
  • me: loo E. spore
  • me: france shoe Bert
  • me: loo twig fan bait hoe Venn
  • me: all ban beg
  • me: goo staff holts
  • me: john add hams
  • me: robe hurt shoe man
  • me: aah! run cope land
  • me: do my neck oh scar latte
  • me: yo hand the bass tea and bark
  • me: hill the guard fan bing in
  • me: head ward L. gore
  • me: goo staff marlboro
  • me: peter ill itch chai cough ski
  • me: wolf gang am a day us moats art
  • me: E. gore strap fins key
  • you:
  • me:
  • you:
  • me:
  • you:
  • me: hbu

demonsanddogweeds  asked:

A silly question, but here goes; Why is a concave stomach a sign of being in shape for dogs, but in wolves a bad thing. Is this purely a question of food availibility, or is there some physiological difference there?

I’m honestly not sure entirely what you’re asking about, but I think you might be talking about the part of the dog that is called the tuck. 

This is a photo of Fawkes, owned by @impish-iggies​. You can see that he’s got a pretty deep chest and then his torso tapers off so that he’s a very narrow dog right at his withers. That little narrow point right before his back legs is called thet tuck. This is a correct look for sighthounds like Fawkes because when he’s running at full extension and needs to get his legs under his body again, having too much bulk there would hinder his movement. 

However, this isn’t correct for all dogs. 

This is a lab from a UK kennel. (Yes, he doesn’t really look much like pet labs - this is the breed standard conformation). Notice that he has a deep chest and basically no tuck. This is correct for the breed because they don’t gallop like sighthounds - they need to be able to push through vegetation and get lots of power from a sturdy, compact body. 

This Grey Wolf does have a bit of a tuck, although it’s obscured by the fur. It’s not as intense as that of a sighthound, but it’s still present. The wolf doesn’t have a lot of chest, so while it has a slight tuck it doesn’t appear to be as distinct a difference as in other dogs. I wonder if you’re thinking of photos where wolves are severely underweight, and so they appear to have much more of a tuck than they should. 

Here’s an Ethiopian wolf, for contrast - definitely a very different body structure, with a very short chest and minimal tuck. 

  • me: i'm severely mentally ill and at times my symptoms are so debilitating that they drastically hinder my ability to function in our demanding ableist society. sometimes staying alive is all i can manage to do, which regrettably means i don't have energy or time to perform societal obligations such as work school and communication though i desperately wish this weren't the case
  • them: so........,,,,,,...;;, you're lazy

If you’re overweight and you’re eating healthy food, people will not take you seriously (because they expect that eating healthy food means you should have the perfect “fitness” body already, and if you don’t have it yet, clearly you haven’t succeeded or some shit).

If you’re skinny and eating healthy, people will be “concerned” for you because you need to gain weight.

If you’re overweight and you have a treat (that you counted in your macros and calories) or even a cheat meal that you’re aware of, they’ll ask if you’re sure you should be eating that… because won’t one meal hinder your weight loss? (and if you previously felt good about eating it because you know life is about balance, you begin to feel skeptical).

If you’re skinny and you work out, they will tell you that you don’t need to… because exercise is only for weight loss, apparently, and not strength.

If you’re overweight and you work out, people will not take you seriously (see first point) and they will always try to correct you because they will assume you don’t know what you’re doing.

tldr; people don’t know your goals, they don’t know your progress and they don’t know your body. You will be judged whether you choose to go for that salad or if treat yourself and go with the fries. You will be judged whether you’ve just started your weight loss journey or are ¾ of the way there. You will be judged whether you want to lose weight or if you’re happy with the way you are. trust your body and your goals, and do it for yourself x

They Make You Jealous By...

Aries: Having so much passion all the time

Taurus: Having the backbone to stand up for your own opinions

Gemini: Having so many people like you even after they discover your flaws because you are so charming

Cancer: Being able to show your emotions and still protect yourself from getting hurt

Leo: Having such a magnetic personality and attracting so many kinds of different people

Virgo: Seeming so perfect at everything you attempt

Libra: Being able to seem happy all the time, even when you’re boiling underneath the surface

Scorpio: Having so much control, or being able to seem like it

Sagittarius: Being so resilient

Capricorn: Being able to focus on and achieve everything you set your mind to

Aquarius: Being so indifferent to others’ opinions

Pisces: Being able to open up so quickly and form relationships without letting fear of getting hurt hinder you


Revenge of the Sith | Tidbit Tuesday | Heavy Lies the Crown   

“He (Hayden Christensen) is smaller and lighter than I am, yet he has to do the same things I did and he has to appear just as if he is me. He walked a bit like Frankenstein, but he wanted to do it.” - David Prowse

In Revenge of the Sith George Lucas deliberately made the Darth Vader suit top-heavy (for instance adding weight on the helmet and armor) to make Hayden Christensen not appear “too accustomed” to it in the movie, therefore the suit that the actor wore was much more heavier than the ones Prowse used in the OT. Christensen’s Frankenstein-like walk and mannerism were intentional and deliberate to realistically portray Anakin’s suffering, clumsiness and difficulties in getting accustomed to his new artificial body and armor. The excruciating pain of his injuries and all the surgeries he went through and his new artificial legs, he was unused to, would naturally hinder his movement.

Regarding the height difference between the actors, Bob Anderson who played Vader in his fight scenes in Empire Strikes Back and Return of the Jedi was 1,85 m, only 2 cm taller than Christensen. Because of the height differences - Anderson was 6'1" (1.85m), while Prowse was 6'7" (2.02m) - Anderson’s scenes were filmed from a lower angle to make him seem taller, or he stood on some small stilts.


“He looked on the city as it was swallowed by flame-flowers, their bittersweet smoke-pollen spreading like fog.
"Millennials,” he whispered.

He watched new continents spring forth as the seas drained back into the Earth, desperate fish learning to fly.
“Millennials,” he whispered.

He witnessed the wisdom of men take form and dance, no longer hindering the minds of we lingering immortal few.
“Millennials,” he whispered.

He saw the sun dragged to a fresh Earth, its brilliance dimming as we sang welcome to an eternal glowing night.
“Millennials,” he whispered.

Eyes shut, he listened as our voices resonated against the massive colony descending through the clouds.
“Millennials,” he screamed aloud.“

Context: We were trapped in an ever-changing labyrinth run by a lich. I was desperate to escape since, being one of the few in my group who owned the Monster Manual, I knew we shouldn’t have survived this long. We just met some super shady Faerie Dragons, who were debating whether to help us escape or hinder us.

Faerie Dragons: We could help you, if we were given some sort of payment.

Me: What sort of payment?

Faerie Dragons: “Around 500 gp in art. We would also take gems, but they are of less value to us.”

Paladin: “I take out the art piece I got earlier. However, I also take out my silvered long sword and lay it down in a threatening manner.”

DM: “roll intimidation”

Paladin: “Wait what?”

DM: “roll intimidation”

Rolls extremely low

Faerie Dragons: “That art is well, worthless. That sword, however, would cover around a forth of the cost”

Paladin: “I don’t want to…”

Me: “My friend here would be more than happy to give up his sword”

Me (ooc): I take out the two gems I have

Me: “I would also be willing to give these two gems as payment”

Faerie Dragons: “Alright, those gems alone will cover the payment”

Paladin (ooc): “Alright so I won’t need to give up my sword”

DM: “The faerie Dragons swoop down and pick up the gems along with the sword”

Paladin (ooc): “What!?”

Faerie Dragons: “We’re taking the sword as a deposit. We will return it when you escape”

He hasn’t gotten it back yet, and none of us are sure he ever will.


school is helpful, but you are a priority

anonymous asked:

Hello! I have a plan to get my main character injured by the antagonist. But, since the mc lives, is it better to describe the danger or get the mc injured so he (and the audience) would have no questions about the seriousness of the antagonist?

When to Injure Your MC

If you ask many writers why they beat their characters up so much, the immediate playful answer might be “Because it’s fun!” but there is (or should be) some strategy involved in when and how you injure your main character. So before I answer the question directly, I’m going to discuss these strategies a little.

Reasons to Injure a Character:

1. To create additional challenges in a high-stakes situation

If a character’s journey has been fairly easy to far, an injury is one way to complicate things. But the only way it works is if the injury lasts long enough to really hinder them. 

For instance, if you have a character that has the magical ability to heal others, then a character being injured and then healed two minutes later doesn’t create much of a challenge, nor does it heighten suspense since the character’s life was never truly in danger. So an injury that’s introduced to complicate things should take some time to recover from, and it’s usually more realistic anyway, especially when you consider the tortuous stuff we do to our MCs sometimes.

However, if you do have a healer character, and they’re currently separated from the character you injure, then a challenge is immediately presented. The injured character has to continue their journey through the injury, to either reach their destination or be reunited with the healer that can help them. 

2. To foreshadow a future situation

The situation I described above, where a character is injured and then healed two minutes later, could work, if it’s being used to foreshadow the second situation I described, where the two characters are separated. Showing the healer in action early in the story can foreshadow a later complication when the healer is unable to assist their companion, whether it’s due to a separation or a sudden loss of powers. 

It can also work as exposition to show the way the healer’s power works. 

3. To show the antagonist’s maliciousness 

The anon above suggested they injure their character to show the antagonist means business, and that definitely qualifies as a good reason to injure a character. 

See, when an antagonist hurts a character - and not just an MC, but anyone - they show that they don’t care who gets in their way. They want what they want, and in their opinion, the ends justifies the means. Even when a character isn’t necessarily in their way, and they do it for pleasure, it tells a reader a great deal about the antagonist’s psyche, and how far they’ll go to further their own agenda. 

My only caution here is to be wary of how often you’re using this reason. Often times it becomes easy to justify an antagonist’s plan by saying “They’re evil and they enjoy torturing people.” But villains who are evil just for the pure enjoyment of it grow uninteresting and predictable quickly. So despite the pleasure they get out of hurting people, they must have some greater scheme in front of them. Some ultimate gain that they’re hoping to achieve. A combination of these two things can breed a fascinating antagonist. 

4. To deepen a character bond or relationship

Injuries or illness are great opportunities to write a dynamic where one character is taking care of another, showing how close the two characters are, and how attentively they’ll care for the other. But this dynamic is most compelling when it’s a reversal, such as a little brother taking care of an older one, or when someone who the protagonist has built up to be invincible is suddenly sidelined and needs the protagonist’s help. 

Like the previous reason, i would just be careful how frequently this occurs. Situations like these are more effective when they’re big, and they last long term, rather than several smaller instances where a character keeps getting hurt and cared for. 

There may be other reasons out there to justify injuring a character that I haven’t thought of here, but I can surely tell you one reason not to:

Avoid injuring a character purely for the fun of it. 

Now listen, what you do in your own private writing universe is your own business, and if you want to put your characters through hell because it’s fun, I commend you for finding so much joy in the process of writing and I encourage you to keep at it. But when it comes to finding an audience, and telling a cohesive, well-paced, well-plotted story, you gotta start considering each move you make as a writer, and ask yourself if each plot point needs to be there. 

Back to the anon…

Now that I’ve gone into all this detail, let me get back to the specific question that the anon asked. Since the character ultimately lives, is it better to just show the possible danger, or to actually have the antagonist injure them to show they’re serious?

My answer to you would be that you could injure the character, since your reasoning falls within the reasons I listed here (reason #3), and it would be even better if it qualified for two reasons, such as delaying their progress to achieve their goal (reason #1) or repairing a strained relationship when a companion must take care of them (reason #4). 

Your argument that the character lives (so why bother?) ignores the need for conflict in a story. Readers appreciate conflict, as long as there are logical reasons for it, and if you consider these reasons I discussed, you should be in great shape. 

However, I think that you could show your antagonist’s malicious intentions without injuring the character, if you felt the injury would be too much for an already conflict-heavy plot. The antagonist might show anger/violence towards the people working for them (out of frustration), or even to innocent bystanders, or other minor characters whose fates we’re not as tied up in. So I think there are still options for you if you wanted to avoid an injury.