i think for a first try it's not that bad

when I was at college there was this extremely cis het white girl who was also incredibly nosy. ok so basically (after the whole class thinking for like the first month I was a girl yikes) this girl came up to me and was like “hey are you…” then trailed off gesturing violently clearly trying to ask if im trans but??? it’s not a bad word??? satans massive cock is not going to erupt through the ground and destroy the universe if you say the word transgender??? just bloody ask me the question get it over with waving your hands about like you’re trying to fan away my transness ain’t gonna answer your question buddy

Drafting: The Theory of Shitty First Drafts

Writing books often exhort you to “write a shitty first draft,” but I always resisted this advice. After all,

  1. I was already writing shitty drafts, even when I tried to write good ones. Why go out of my way to make them shittier?
  2. A shitty first draft just kicks the can down the road, doesn’t it? Sooner or later, I’d have to write a good draft—why put it off?
  3. If I wrote without judging what I wrote, how would I make any creative choices at all?
  4. That first draft inevitably obscured my original vision, so I wanted it to be at least slightly good.
  5. Writing something shitty meant I was shitty.

So for years, I kept writing careful, cramped, painstaking first drafts—when I managed to write at all. At last, writing became so joyless, so draining, so agonizing for me that I got desperate: I either needed to quit writing altogether or give the shitty-first-draft thing a try.

Turns out everything I believed about drafting was wrong.

For the last six months, I’ve written all my first drafts in full-on don’t-give-a-fuck mode. Here’s what I’ve learned so far:

“Shitty first draft” is a misnomer

A rough draft isn’t just a shitty story, any more than a painter’s preparatory sketch is just a shitty painting. Like a sketch, a draft is its own kind of thing: not a lesser version of the finished story, but a guide for making the finished story.

Once I started thinking of my rough drafts as preparatory sketches, I stopped fretting over how “bad” they were. Is a sketch “bad”? And actually, a rough draft can be beautiful the same way a sketch is beautiful: it has its own messy energy.

Don’t try to do everything at once

People who make complex things need to solve one kind of problem before they can solve others. A painter might need to work out where the big shapes go before they can paint the details. A writer might need to decide what two people are saying to each other before they can describe the light in the room or what those people are doing with their hands.

I’d always embraced this principle up to a point. In the early stages, I’d speculate and daydream and make messy notes. But that freedom would end as soon as I started drafting. When you write a scene, I thought, you have to start with the first word and write the rest in order. Then it dawned on me: nobody would ever see this! I could write the dialogue first and the action later; or the action first and the dialogue later; or some dialogue and action first and then interior monologue later; or I could write the whole thing like I was explaining the plot to my friend over the phone. The draft was just one very long, very detailed note to myself. Not a story, but a preparatory sketch for a story. Why not do it in whatever weird order made sense to me?

Get all your thoughts onto the page

Here’s how I used to write: I’d sit there staring at the screen and I’d think of something—then judge it, reject it, and reach for something else, which I’d most likely reject as well—all without ever fully knowing what those things were. And once you start rejecting thoughts, it’s hard to stop. If you don’t write down the first one, or the second, or the third, eventually your thought-generating mechanism jams up. You become convinced you have no thoughts at all.

When I compare my old drafts with my new ones, the old ones look coherent enough. They’re presentable as stories. But they suck as drafts, because I can’t see myself thinking in them. I have no idea what I wanted that story to be. These drafts are opaque and airless, inscrutable even to me, because a good 90% of what I was thinking while I wrote them never made it onto the page.

These days, most of my thoughts go onto the page, in one form or another. I don’t waste time figuring out how to say something, I just ask, “what are you trying to say here?” and write that down. Because this isn’t a story, it’s a plan for a story, so I just need the words to be clear, not beautiful. The drafts I write now are full of placeholders and weird meta notes, but when I read them, I can see where my mind is going. I can see what I’m trying to do. Consequently, I no longer feel like my drafts obscure my original vision. In fact, their whole purpose is to describe that vision.

Drafts are memos to future-you

To draft effectively, you need a personal drafting style or “language” to communicate with your future self (who is, of course, the author of your second draft). This language needs to record your ideas quickly so it can keep up with the pace of your imagination, but it needs to do so in a form that will make sense to you later. That’s why everyone’s drafts look different: your drafting style has to fit the way your mind works.

I’m still working mine out. Honestly, it might take a while. But recently, I started writing in fragments. That’s just how my mind works: I get pieces of sentences before I understand how to fit them together. Wrestling with syntax was slowing me down, so now I just generate the pieces and save their logical relationships for later. Drafting effectively means learning these things about yourself. And to do that, you can’t get all judgmental. You can’t fret over how you should be writing, you just gotta get it done.

Messy drafts are easier to revise

I find that drafting quickly and messily keeps the story from prematurely “hardening” into a mute, opaque object I’m afraid to change. I no longer do that thing, for instance, where I endlessly polish the first few paragraphs of a draft without moving on. Because how do you polish a bunch of fragments taped together with dashes? A draft that looks patently “unfinished” stays malleable, makes me want to dig my hands in and move stuff around.

You already have ideas

Sitting down to write a story, I used to feel this awful responsibility to create something good. Now I treat drafting simply as documenting ideas I already have—not as creation at all, but as observation and description. I don’t wait around for good words or good ideas. I just skim off whatever’s floating on the surface and write it down. It’s that which allows other, potentially better ideas to surface.

As a younger writer, my misery and frustration perpetuated themselves: suppressing so many thoughts made my writing cramped and inhibited, which convinced me I had no ideas, which made me even more afraid to write lest I discover how empty inside I really was. That was my fear, I guess: if I looked squarely at my innocent, unvetted, unvarnished ideas, I’d see how bad they truly were, and then I’d have to—what, pack up and go home? Never write again? I don’t know. But when I stopped rejecting ideas and started dumping them onto the page, the worst didn’t happen. In fact, it was a huge relief.


Next post: the practice of shitty first drafts

Ask me a question or send me feedback!

6

Musical AU (1, 2, 3). First part. Pilot chapter. 

Not the begginig I`m proud of, but, hey, more interesting things happen on the next part and after it… I thinks so. Also trying to decide the way of drawing and use something new for me.

Tell me if its too bad to continue, really.

Part 2

keith’s probably the guy who’s just really bad at remembering names and paying attention to anyone other than the professors during classes so whenever someone’s like “hey!!!!!!!” he’s always like “uh…. hey?” all confused and trying to remember where he met them before and people misinterpret and think he’s a big snob when really the poor boy just has selective attention and shitty memory

anonymous asked:

Hi, what do you mean by "the opening of 2x14 was a deliberate negative parallel to Alex and Maggie’s scene from 2x09 in every respect" I'm not sure the writers are trying to be negative on purpose. I genuinely think they are oblivious.

I’m going to address that last sentence before I answer: being frustrated with a storyline because you don’t like it or don’t understand its purpose does not mean the person who created it is bad at their job. It just means you disagree.

That said, let me expand upon what I meant:

Kara’s morning-after scene with Mon-El in 2x14 intentionally juxtaposes Alex’s morning-after scene with Maggie from 2x09.

Similarities: both scenes start with similar background music and we can tell that it’s morning. The first person we see enter the frame is each girl’s respective love interest, but the girls themselves are somewhere offscreen. Both scenes also contain similar establishing shots of the bedrooms in disarray – at Alex’s we see the empty bed with pillows scattered on the floor and the blankets a mess; at Kara’s we see clothing scattered on the floor leading to the bed.

Now, differences:

Keep reading

BTS reaction to you being pregnant and insecure in a swimsuit

this is my first gif reaction so if its bad im sorry it’ll get better i suppose, and to the person that requested, here u go bae 💕


Seokjin

*He is speechless for a moment because he can’t believe it, but then immediately goes trying to make you feel better about yourself.*

“What? You think you look bad?…No! Oh my god Y/N you have no idea how beautiful you are! Come here-”

*he opens up his arms for a hug*

Namjoon

*notices you looking at yourself in a mirror with a sad face*

“Baby what’s wrong?”

“You’re insecure? Oh no, baby. C'mon let’s go, all of the girls will be jealous when we get to the beach. You look amazing.”

Yoongi

*seeing your worried face he asks you whats wrong*

“Oh Y/N… those stretch marks don’t make you look disgusting! Why do you worry about such little things?”

*he takes your face in his hands looking deep into your eyes*

“You look fucking beautiful like that.”

Hoseok

*you’re usually a really cheery person like him so he gets really worried when he sees tears on your cheeks*

“Is everything alright? Why are you so down? Please tell me.”

“You’re insecure? Oh Y/N don’t cry… You are not in any way ugly! Look at yourself! You’re glowing!”

Jimin

*sees your face and how you’re looking at yourself and immediately figures out what’s happening*

“Y/N I know what you’re thinking and you’re wrong.”
“It’s silly to think that way. You’re in a natural state and you look gorgeous in it.”

*and then he looks at you in adoration when you smile softly at his comment*

Taehyung

*you tell him what’s wrong before you two get going and he immediately hugs you when you tell him*

“You’re a beautiful woman Y/N, there is no need to worry about things like that.”

“You look normal as every woman in that state, hell, what am I saying you look even better. Come here now-”

*he wraps you up in a hug, and then rubbs your pregnant belly, smiling widely*

Jungkook

*frowns at your comment about your body and starts going on about how wrong you are*

“What are you even saying? Have you seen yourself Y/N? You look amazing, I’ve never seen a pregnant woman look as good as you do.”

“So please don’t feel insecure about it, you look stunning.”

“Tell her baby” he says to your pregnant belly making you laugh.

To Become A Hunter

Characters: Dean Winchester, Sister!reader, John Winchester, Sam Winchester [mentioned]

Words: 3900+ (I’m really sorry about that, but there was no good place to split it)

Warnings: Can’t think of anything specific, really, maybe just that there’s going to be a verbal fight, I dunno. Maybe a bit of swearing, not too much.

A/N: This is the fic I was talking about! It’s a pre-series sister AU, that takes place in between around 2003. Dean is 24, Sam is 20 and at Stanford and you are 17 years old. It’ll also be a mini-series, so there’s more parts to come. It might be a bit all over the place, but I was trying to create a certain feeling. (I don’t know what I’m talking about, but I hope you like it!)

Originally posted by whoeveryoulovethemost

Originally posted by negandarylsatisfaction

Originally posted by xohollandroden

Your name: submit What is this?

Hunting is hard, and that’s no surprise, really. It’s physically challenging, you have to be smart, have technique, and it’s just hard emotionally as well. And, not only is it hard, but you hate it as well.

Okay, hate is a strong word, but things about it, you really do hate. You hate the way you have to sacrifice what feels like everything for it. You hate the way you feel like you miss out on life. You hate the pain and the constant fear. You hate the way it forces you to see the world more black and white instead of with all the shades of grey. You hate the way you get shut down every time you question this. You hate the way your dad responds with ’because you have to’ when you ask ’why?’.

John Winchester used to be in the military and it shows, you could testify to that. All your life he has been hard on you and your brothers. But, despite this, you are not afraid to stand up to him, question him, call him out. Although it often comes with consequences.

Keep reading

anonymous asked:

Hey, I saw your tags on the ladywongs post, so I just wanted to know your opinion about the latest touka/mutsuki. honestly, I feel it unnecessarily complicated something so simple and it made me feel violated, cause I feel like I loved a character that was not touka. Do you perhaps...have an insight you wanna share?

Well, I was grateful for the shoutout that meta gave me and I’ve been a fan of a lot of metas that writer has produced, but this one in particular I very much disagreed with. I think the claim that Touka loves the idea of Kaneki while not really understanding the person ignores the fact that every time she’s made a serious observation about Kaneki she’s been bang on the money.

If she idolises Kaneki so, why has she made such a damning assessment about him? And it’s not just an assessment of the changed Shironeki that she resents, it extends to the Kuroneki she supposedly idolises as well. And what’s more, she’s completely right. This is even acknowledged by Kaneki himself.

Touka doesn’t idolise an image of Kaneki. Far from it. The chapter on the bridge is titled “Penetration” because Touka sees past the roles Kaneki plays to the scared kid inside. At this point, she probably has the best understanding of Kaneki than anyone in the series - maybe even more than Hide. For further proof, Touka knows at a FREAKING GLANCE just what Kaneki intends to do to himself when they meet up at Cochlea.

If this was just a casual “Seeya”, do you think it would be all Touka would say to him after all this time? She can tell Kaneki has no intention of making it out alive, so the first thing she does is to remind him that his death won’t affect him alone, and it very clearly shakes him up; setting him on the path to choose to live. Just like how their confrontation on the bridge convinced Kaneki to go back to Anteiku, if not quite in time.

Touka’s not being unreasonable because the Kaneki she idolised has changed. She’s mad because Kaneki’s going down a path of self-destruction, and it does destroy him. In the last quarter of the first manga the narrative breaks its back pointing out that Kaneki’s gone too far down the Shironeki path - it’s not just Touka, it’s also Yoshimura, Nishiki, even resident devil on Kaneki’s shoulder Shuu, not to mention events like Kaneki stabbing Banjou, seeing Rize crazed and helpless, and all the foreshadowing packed into ‘The Hanged Man’s McGuffin’. Touka is trying to help Kaneki because she genuinely does know what’s best for him because she genuinely understands him. I don’t think anyone would try to claim that convincing Kaneki to live at Cochlea was a bad thing either.

Now if Touka is ‘obsessed’ with Kaneki, if it can’t possibly be love because they only knew each other for two months, then it would stand to reason that Kaneki would be far, far more important to Touka than she would be for him.

Then why is it that in Kaneki’s mind, after only knowing Touka for two months and Hide for all his life, Touka is on equal footing with Hide? He includes the whole of Anteiku in the above panel, but Touka gets special mention with Hide in the next. 

And here, in his dying moments, Touka gets the biggest panel, placed on the next page for the biggest effect. Touka is just as important to Kaneki as vice-versa. 

But neither is ‘obsessed’ with the other.

Touka broke into Cochlea to save Hinami, not Kaneki. She didn’t even know he was there. She most definitely has a life outside Kaneki and her love for him is far from all-consuming. While he had lost his memories, she was fully willing to accept the possibility she might never talk to him again. She might love him, but if she was obsessed and didn’t have a life outside of him, there’s no way she could make a sacrifice like that even if her aim was selflessness. Yoshimura loved his daughter, and set up Anteiku anticipating her return, but he had a life outside of her too. It’s the same with Touka.

The original post tries to dismiss Touka’s feelings being a healthy form of love by comparing it to spending three years dedicating yourself to a co-worker who you knew for two months, but dumbing it down to their official relationship and a span of time removes an enormous amount of context to explain why she feels this way. In real life, you wouldn’t have fought side-by-side with your co-worker in life-threatening situations time and time again. These kind of high-pressure environments cause bonds and trust to become much much thicker much more quickly. “Summer friends will melt away like summer snows, but winter friends are friends forever”.

Sure Touka sees Arata in Kaneki. That’s not a bad thing at all. Arata was a great dude. Having an Arata in your life is a real positive thing, and there’s absolutely no reason why Touka shouldn’t chase it. People are hardwired to get with people who remind them of their parents - it’s in our genetic programming, it doesn’t diminish the love they feel for that person or make them love them less for who they are in the slightest. Trying to heal the wounds of old losses by emotionally investing yourself in new people is totally healthy - the unhealthy thing would be to shut yourself off from the world, just like Touka was doing at the start of the manga - a rut Kaneki helped her out of. It would be bad if she were just pretending that Kaneki was Arata, but she isn’t - she behaves totally differently around him and she has demonstrated many times an understanding of those personality traits Kaneki possesses that are completely different from Arata’s. It would be problematic if Kaneki got with someone who reminded him of his mother (read: Rize) because his mother was a horrible person; but Touka, even if she occasionally throws a hit at him (a product of her upbringing which is very rare nowadays - also Kaneki is nowhere near as vulnerable in this situation as he was a child, he’s the OEK for crying out loud), constantly gives Kaneki both the emotional attention and the hard truths that he needs.

This panel:

Is unambiguously a good thing. Touka’s development was never about growing into herself without the need for others, because she was already like that at the start of the manga. Touka’s development was about rediscovering the humanity she cast aside to protect herself from pain, and then balancing that with the strength she found with being a Ghoul. The first stage was greatly aided by Kaneki - whom she indeed admired, but never idolised - and the second stage she completed herself. 

Mutsuki’s love is a different beast entirely than Touka’s love. Mutsuki’s focus on Touka was precisely to emphasise Mutsuki’s jealousy, because Mutsuki recognises the bond Kaneki and Touka share. Mutsuki’s feelings are not meant to parallel Touka’s, but tie in with the other complicated entanglements of this arc, showcasing different kinds of love. I do strongly believe we’ll get both Touken and Akiramon resolutions soon, and positive ones too; the negativity around love this arc has displayed to us so far is set up to make those two relationships shine brighter.

So don’t worry anon, just because a meta says Touka is different from how you think about her doesn’t mean it’s right - it’s all a matter of interpretation. No one person’s opinion is automatically more important than another (except in this case maybe Sui Ishida - and maybe not even then, if you adhere to Death Of The Author literary theory), your analysis is just as valid as anyone else’s if you can argue it with evidence.

But even so, I am very much of the opinion in this fandom that if you see any meta that tries to claim that none of the main characters have developed at all since the start of the manga, take it with approximately this much salt:

Pumpkin - My third project

Pumpkin is a cat from one of the first fiction I wrote in english. You can find it here : Halloween Prompt: Black cat.

I’ve wanted to make her since the beginning, when I started crochetting but, well, starting with black yarn was a very bad idea as I learned later. I understood quite a bit myself when, doing my first ring circle, I couldn’t distinguish a stitch from another. For a first project it was quite difficult, especially for learning how to crochet and all that.

But I kept in mind to do Pumpkin at some point and… yeah, ok, I couldn’t wait any longer and tried it. Which… urgh, black yarn is such a bitch, I swear XD.

She’s now sitting in the middle of my Iron Man & Winter Soldier pop. The collar wasn’t part of the pattern but I found how to made it and I improved a little bit x).

To celebrate it I made a small fiction relating to the thing I wrote about her… because I really like Pumpkin (go figure) and… well, I wanted to write more about her. It’s not great but it’s a small thing I wrote when I finished my amigurumi. There’s another picture at the end of the fiction.

Life at their apartment had become… nicer. While Tony was still very much aware of all the ways something could go wrong if he wore green on a Friday or walked under a ladder, Pumpkin had somehow won a special place among them and was no longer considered a threat.

Since the day the truce had been signed, while Bucky was absent, it wasn’t uncommon to find them curled up on the couch, the kitten purring loudly with his head tucked under Tony’s chin.

(mobile reader, beware the cut, there’s more! <3)

Keep reading

anonymous asked:

I struggle with Dean still doing random hookups, like many other viewers. It's hard to not let it turn me bitter. But if it helps anyone, i try to look at how it's different now than in the past, and what it means for Dean's arc as a whole. First off, in recent seasons, Dean's hookups are few and far between. And when they happen, it's usually at a time of high emotional stress, often coinciding with worry/loneliness regarding Cas. In other words, in short, they're no longer "dude bro" moments.

Hi there! And yeah, I can see surface-reading why people find it upsetting. And even if I couldn’t understand why people think it looks bad on the surface, most of my inbox today is just fretting over that scene in various degrees ranging from exasperated to distraught to resigned. So yeah, I get it.

Note to people sending me these sorts of anons, these are the things I don’t normally publish, because I’ve already written extensively on my own read on the scene, and it gets to the point where even I can’t really say anything new on the subject, as long-winded as I can be. :P

But as another anon suggested, perhaps we’re “reaching” in our destiel-positive interpretation of this particular scene… I’d like to suggest that since we’re being clobbered in the face both by Cas-adjacent subtext AND seeing a giant BS grace every flat surface in that diner, that we’re being rather forcefully prodded to make that reach.

Dean has, from the first season of this show, used sex as a coping mechanism, typically when he was feeling rejected or fearfully alone. And the parallels between this episode and 5.14 are practically punch-you-in-the-face levels of powerful.

In an episode were Famine told Dean that he was essentially a void and had no real desires for ANYTHING, yet Dean described himself as “well fed,” in that he satisfied each need as it arose and never let it become a desire. He essentially took what he needed when he needed it, in a weird sort of self-medication strategy that I identify with SO FREAKING HARD it’s actually kinda terrifying to me.

(and it’s been suggested that what Dean craved most was actually abstinence, in a sort of zen-calm way that he’s been living since about 12.14 again…but I think it has more to do with calm, with stability, with balance than actual abstinence)

(strangely in that episode the only thing Dean truly seemed to desire, and the one thing he put himself in jeopardy over, that he risked his personal safety for, he gave Cas about two whole seconds to retrieve Famine’s ring before charging in after him, running to his rescue. Which was about the amount of time Sam counted off before Dean charged into the diner in 12.10 where Cas was meeting Ishim…)

And yeah, Dean lampshaded it himself in 12.11, that his hookup with the waitress in that episode was his first in a really long time and he didn’t even remember it, so it was “like it never even happened.” And this is the first time since 12.11 he’s hooked up with anyone else, as far as we’ve seen. Before that when was his last hookup that we know of? 11.13? It’s been a while…

And what prompts this sudden and unexpected hookup? The huge void he’s currently feeling after Cas dropped THOSE WORDS on him in 12.12 and then  suddenly disappeared during 12.15 after obviously maintaining at least regular phone conversations with Dean up to that point. (I’m thinking really strongly of the parallel overlapping phone calls in 12.15 where Sam tells Mary “I love you” while Dean’s signing off with Cas… because they only have one more phone call after that before Cas stops answering, won’t return his messages, and can’t even be located with his phone’s GPS.

Last Dean knew Cas was hunting for Dagon and closing in… which is scary enough in itself but then post 12.17 when Dean didn’t hear back from Cas after he let him know they had a strong lead, and then STILL hasn’t heard from Cas after reporting in the details of their run in with Kelly and Dagon…

I mean Dean does NOT want to think about it but it’s GOT to be eating away at the back of his brain oh my god what if he’s dead what if he found Dagon and he’s dead now… And that is a place he absolutely cannot let his mind wander off to.

but seriously what the hell else would keep Cas from answering for THIS LONG… oh my god could this be the cosmic consequence? did he get himself killed for me and i wasn’t even there to stop it? is it all my fault anyway?

So Dean goes into this diner where EVERYWHERE HE LOOKS is a little ping of CAS CAS CAS from the big “Gus” that from 10 feet away might look like Cas to the mounted fish on the wall to the lost dog sign to all the people in tan coats that suddenly seem to be all the rage everywhere… It’s like he’s being subconsciously haunted by Cas. And the yawning void inside him needs to be filled immediately.

(so he creepily picks the one woman in the place that looks like a young version of his mother and chats her up with the worst line in history and a painfully pasted on grin and gets away from the diner and from Sam who’s telling him everything will be fine, and…)

How is anything in that scene NOT about Cas? And how is this, at all, “reaching.” It’s more like trying to keep from suffocating from how heavily the show was trying to pile it on there.

Which only adds to the sense of “claustrophobia” in the episode (that @postmodernmulticoloredcloak was talking about here. And I think it’s also relevant to how Dean is personally feeling right now. He feels isolated (from Cas, from Mary, and even to a degree from Sam because he feels Sam may be keeping secrets from him still…), he’s frustrated about not having been able to make contact with Cas yet, he does not like having to report to the MoL and be at their beck and call, he feels a creeping sense of violation in knowing that “his home” is not really his, or truly safe for him, after Mick popped in in the previous episode, nor does he like the MoL’s oppressive “Code” and is wary because of the way he and Sam routinely violate it… He’s worried about Mary. But mainly? The thing he was upset about through the entire opening segment? Was Cas. And the worry is smothering him.

When Dean feels emotional stress, he resorts to the appropriate outlet for countering it. Worry and loneliness >>> sex.

If he was angry about something, he’d be drinking or fighting. But he’s not angry, he’s worried. And this is his go-to coping strategy. Sublimation.

gay-street  asked:

Do you have any more tips on how to draw all hair and eyes? I find that I do okay from reference and in realism, but when it comes to stylising and drawing from imagination I get completely and utterly lost. It doesn't matter how many guidelines I do or if I always do the eyeball first and wrap the lids around it, my eyes always come out weird as fuck. It looks like an alien. I think I don't do bad with lips and my noses aren't too crappy, then I try hair and oh my SEND HELP. It's a disaster. +

+ It either looks like a shapeless blob on top of the head or if I attempt detail it becomes a bunch of lines that make 0 sense at all. Hair is my nightmare. I would really appreciate it if you had some tips, though I totally get it if you don’t have time. I usually find your tutorials useful and I love how you stylise things but still keep them looking real, you know? That’s why I decided to try and ask you. Thank you in advance if you do actually decide to take the time and reply to this. 💕🙈


Well, like I said earlier, I’m not going to make any more hair or eyes tutorials. Maybe try to figure out why you think your eyes look wrong? When you draw hair try to think about what you’re doing, if you can’t imagine the shape it’ll be shapless, if you start adding lines coincidentally don’t be surprised they’ll look like that. Drawing requires thinking. When I draw hair I need to spend a moment figuring out the hair logic :) shape and direction of the curls. I can mindlessly add some lines or actually think what I’m doing:

Practise! If you can’t draw form memory or imagination it means you don’t have enough data in your mental library that you can use to build your made up worlds. I’m not able to draw a car from imagination right now because I rarely draw cars, I don’t have enough information to make it look believable. It’ll look wonky and weird.
Also, maybe show someone your work. I know you can’t always tell what’s wrong with your drawing even if you feel something’s off. Your eye doesn’t catch the mistake yet but someone else’s might spot where the problem lies.
Now about stylisations, my stylisations are just simplifications. When you’re drawing from real life and photos simplify your objects, don’t copy, brake it to the form, lines or surfaces only. It might help idk. Good luck :)

BTS reacting to you getting a bad haircut.

Jin:

Jin would try to be super nice about I, but he’d be honest about it too. He wouldn’t come out and say it was bad. He would try to lighten your mood by saying he had lots of hats you could wear if you wanted to. “Well, it’s not the worst haircut you could have gotten, right? Don’t worry your pretty little head!” See what I did there?

Originally posted by bangtan-sons


Yoongi:

He would try not to laugh at you. He doesn’t really care that you got a bad haircut, he would just think it’s funny. If he noticed you were really upset, he would comfort you. Yoongi would remind you that it’s just hair and it honestly doesn’t matter. “It’s gonna grow back, beautiful. I love you anyways.”

Originally posted by khobi


Hobi:

Hobi wouldn’t say much to you at first because he just wouldn’t know what to say. When you finally ask you what was wrong he would make the “J-Nope” face. “I liked your hair before, but its okay now. You’re still as cute as ever though!”

Originally posted by hobioppa


Namjoon:

He would laugh a bit at first. Namjoon wouldn’t want you walk around like that so he would then take you to his professional stylist to try and get it fixed. “If you want you can come here from now on. I gotta make sure my girl is taken care of”

Originally posted by chimneytaels


Jimin:

He would feel really bad for you and try his hardest to make you feel better. Jimin would try to make jokes to make you laugh. “Wanna go back to that salon and beat whoever did this up?” He’d then give you a million compliments to try to remind you how gorgeous you are.

Originally posted by bwipsul

Taehyung:

Tae would have that spacy look on his face when he first saw you. He then would get a big grin on his face and run to the bathroom. a few moments later he would come back, hair completely butchered. “Hey!! We match now!!”

Originally posted by beuits

Hi Hobi

Jungkook:

Jungkook would try to say something but keep stumbling over his words. He’d leave for a moment to call one of they hyungs on what to say so he doesn’t accidently make you sad. He’d come back and give you a nice hug. “Hey, I’ve had my share of bad haircuts, too. They always grow out.”

Originally posted by baekon-stripss

The next Pokemon Direct is coming out tomorrow, and I know it’s a silly hope but we may as well try!
In honor of this: a sleep deprived doodle of everyone’s favourite spaceman bads
Its very rushed and also I meant to add everyone’s signature pokemon but I realized there wasn’t enough room on the page. So that’s why there’s just a random rotom and skuntank, lol

anonymous asked:

You think anyone ever jokingly refers to the events of "The Last" as Hinata's "first" "marriage"? And when the kids look at her all confused, she's like "It's a long story."

how do you even explain it

“while trying to save my sister I was almost forced to marry a very distant relative that lives in the moon”

then again almost anything in naruto sounds ridiculous if you try to explain it

“so in the third ninja war we had to fight kakashi’s old teammate who went bad because his crush was brutally killed, but he was being manipulated by his hundred year old distant relative who was being manipulated by a plant dude who was working for a superpowered alien mom”

jessyisjessy  asked:

Hi Leslie! Have you ever considered getting deals with Huion or Ugee where they send you one of their tablets for review purposes? I see a lot of art youtubers do it and considering your audience is big enough, getting a drawing tablet for free doesn't seem like it could hurt?

ive gotten contacted by companies before to do a sponsored video but i never take em up for the offer just cuz im not really interested. huion was actually the first company to try to contact me haha but i had just recently bought a new tablet and felt guilty to have 2 brand new ones and i wasnt sure if i could do a giveaway lmao. 

there was only 1 company i was interested in making a video for but they stopped replying to me cuz i suck lmao all well. my loss. 

Originally posted by tobigifs

anonymous asked:

Do you have any tips on writing really great mutual pining? It's a pretty big part of my next fic but I can't seem to get the emotions across in my writing ;-;

Plotting Great Romance

While “pining” implies an almost lack of romance, I still think the same goals of writing a great romance apply. You develop each of the two characters separately, and you develop a basic story for each of them separately, and then you see what happens when you bring them together. Think of it like clapping - each hand is capable of accomplishing a lot on its own, but when you slap your hands together, it creates a unique sound that one hand cannot produce on its own.

You could plot out the scenes/tension/suspense between them before developing each individual character, but I think it can be more challenging that way. So I would try to imagine the backstory, the characteristics, the wants, the needs, the goals, the motivations, the quirks, the interests…figure out who each of these characters is first.

Once you have that, you can start to think about how each character affects the other. What new characteristics do each bring out in the other? Are they good or bad? What ways do they challenge each other? What impact does each one have in the other’s life? Don’t think in terms of romance at this point. Just imagine your characters together, and imagine them separately. What’s the difference? What aspects of their personality do they suppress around the other and which ones do they set free?

Then, consider what qualities they each admire in the other. Why does each of them like being around the other? And counterpoint - what things frustrate them about the other?

When it comes to pining…

…make the reasons behind their unrequited romance good. A reader can quickly get frustrated by two characters who are simply too shy to admit their true feelings, or too naive to recognize chemistry and affection that is obviously mutual.  This is easier than you think. Imagine what obstacles a relationship between them might have, and then have your character foresee this obstacle as too troublesome to deal with.

For example, in a Romeo/Juliet type storyline, two characters might pine for the other but fail to act on their feelings due to family expectations. An artist might never pursue art because their parents expect them to be a doctor, just like a person may not pursue another romantically because their parents wouldn’t approve. 

Geography might be another potential obstacle. Two characters that meet unexpectedly while on vacation may hit it off, but knowing they each live on separate coastlines, they anticipate a stressful long-distance relationship and hold back on confessing feelings. 

An existing relationship is a big one - a character might not feel fully committed to their current partner, but their partner has never treated them poorly and for all intents and purpose, they seem perfect for each other. So they hold back feelings for another person because they don’t want to hurt the person they’re currently with, who they do still care about deeply. Their life might also be comfortable with this person, or even well established, with a nice home and kids, and not wanting to hurt your children with a divorce is a big reason someone might hold back on feelings for someone else. 

Basically, you need to consider what is stopping each character from confessing their feelings. Fear of rejection is implied - there needs to be more than that in order to carry mutual pining for an entire novel. There need to be other obstacles, and they need to be ones that your characters can predict, and ones they care about. 

Let me put it much more simply. Instead of each character asking, “What if they don’t love me back?” have them ask, “What if they do love me back?” And consider what the answer to that question is. Once these feelings are requited, what are the consequences?  What is each character afraid of? 

So I think that would be my biggest suggestion - make their hesitations be about more than rejection. And when it comes to describing their emotions, don’t try too hard. Tell your story, and see what emotions naturally unfold. We convey emotion by putting ourselves into the shoes of our characters and imagining how it might make us feel. I think once you have the story well plotted and the characters well developed, it’ll become easier to describe what each of them is feeling. 

Good luck!

-Rebekah

If you are looking for a positive post on Supergirl S2 then this is not it

I feel like with S2 of Supergirl the CW have literally did whatever they can to distance themselves from S1 under CBS. I didn’t think the network change would make a huge difference but boy was I wrong.

Now some things they have done haven’t all been bad but I think with the exception of a few plots we would want Supergirl to return to what it was in its first season. I’m just gonna try list some of the things the CW has changed:

•They immediately broke up the romance which was built up for the entirety of season 1 and made stupid excuses for this break up. This kinda made a lot of stuff which happened with Kara in S1 irrelevant. I think a lot of us wouldn’t have been so upset about the break up if they actually stuck to the idea that Kara wanted to find herself on her own but they didn’t and that brings me onto my next point.

• The CW clearly don’t trust that Kara/Supergirl is enough to bring in viewers or they would not have had Superman appear in the first two episodes and they would not have introduced Mon-el as her co-lead. While in S1 James was the male lead, it never felt like he was Kara’s co-lead because that role belonged to Alex. CBS allowed Supergirl to be a female dominated show and that’s what many of us loved about it but the CW has moved away from it because that is what they are familiar with. The CW thinks there needs to be a dominant male character in every show and that is clearly shown with S2 of Supergirl.

• Alex’s coming out. Now this has been one change that I think all of us have welcomed. Even though producers have said they had talked about it in S1 I think the move to the CW is the reason this happened. The CW loves to try show that it is diverse so they would be eager to introduce this storyline more so than CBS. However, the CW is also doing something which I don’t think CBS would do. Queerbating. Even though there is an canon lesbian relationship they are still queerbating. They do this by promoting Sanvers more than any other couple on the show but giving them less screentime than the other primary couple. They do this by only allowing Sanvers to have little pecks on the lips like once every four episodes while Kara and Mon-el get full blown make-outs and it obviously implied that they had sex. They do this by suggesting an episode is heavily Sanvers centred for it to be actually centred on an abusive relationship and skipping over important plots involving Sanvers.

• Another change they made was moving Winn to the DEO which I think we can all agree was a great move. There really was no use for Winn at Catco and it made his character into more than just Kara’s genius friend. I also really enjoyed that they made him a part of the Guardian storyline by being James’ sidekick and the storyline of Winn getting attacked on a mission was great as well. S2 Winn is probably my second favourite character behind Alex but there are still some CW things that concerns me. The need to give everyone a love interest is one of those things. I don’t see the need to give Winn a girlfriend and if they are going to give him one then maybe chose someone who is more likeable and doesn’t treat Winn badly. Basically the CW just needs to keep Winn the same as he was in the first half of S2 as he is a likeable character who provides good comic relief without detracting from the leads.

• Now I know the sidelining of James Olsen is a popular strike against S2 of Supergirl and I totally understand why. He was supposed to be the male lead and in the lead up to S2 it seemed that he was going to get an even bigger role with the Guardian storyline but instead he has basically been reduced to a recurring character whose storyline has been under-utilised. Sometimes it feels like he just shows up in some episodes to fulfil Mechad’s contract. Why did they even bother promoting the Guardian storyline if they aren’t even going to use it?

• Surprise! Another black character sidelined in S2 of Supergirl. This one has gone basically unnoticed compared to James Olsen’s treatment but it still bothers me just as much. The poor treatment of J'onn J'onzz as a character is much harder to notice because he still is in many episodes but he’s without any real storylines. He’s basically like S1 Winn, get one episode where the focus is on you and then you’re invisible for the rest of the season. Last season we saw a strong relationship between J'onn and the Danvers sisters and that has just been missing this season. This season J'onn has basically been reduced down to identifying alien species. The one really interesting storyline revolving around him where he was transforming into a white martian was quickly solved by the end of the episode miraculously by Eliza ( not even Alex)which was almost as annoying as the “ it was all a dream” trope.

• The last thing I’m going to complain about is the damn plot holes from S1 to S2 and the characters being written out of character. I understand it was under a different network but c'mon CW you can at least acknowledge what happened last season! To explain why Lucy is no longer around all you have to do is say she moved to DC after Myriad or something like that. And are we just supposed to believe that Max Lord wouldn’t be Cadmus’ best friend? Are we supposed to forget about what General Lane gave to Lord at the end of S1? There has been a mix bag with writing Alex as a character this season. Some scenes are just so Alex Danvers with her being a complete badass but others have her giving advice to Kara which she would never have given in S1. Alex couldn’t stand Maxwell Lord so it’s hard to believe that she would encourage her sister to date someone who has a similar personality and has publicly embarrassed her in the workplace by shouting at her. They’ve also wrote Kara as being more arrogant and less focused on her friends. Having Kara say James couldn’t be a hero because he didn’t have powers didn’t make sense and it just came across as Kara was jealous of another hero getting credit. S1 Kara would have been concerned for James’ safety but probably would’ve quickly got over it but instead it takes her longer to forgive James for being Guardian than it takes her to forgive Mon-el about lying about his true identity among other horrible things he has done.

Basically the show has drastically changed from what it was in S1. Now I’m not saying it was perfect, far from it, but they have failed to truly build upon the potential it did have. They toned down it’s feminism all to please the DC fanboys it is trying to attract on the CW and they wasted storylines which could’ve been great because they wanted to push a character which many agree has ruined the show. They need to fix this for S3 or that will be the end of Supergirl.