hi hi!! im very lgbt friendly as im a big gay myself so pls feel free to message me about this stuff
I do agree attraction can feel different when directed to different people. I find in my experience it has to do with different aesthetics? Because im aspec myself my attraction is very aesthetic based, so what i feel for a very masculine person is different than a feminine person
bi/pan/ply followers what do you say??
good question!!
did you know i stopped writing for 4-5 years solid because of this? because i thought everything in my head was just clutter, and i couldn’t get it to sound right on paper. I felt like everything was just noise and i should let it spin and spin until it left me alone.
i still don’t know how to set it off exactly. How to tell a story and stick to it. I’m as much a beginner as a lot of you, maybe even more, when it comes to actual storytelling. But!! I don’t need to start with a story!!
this blog was the beginning of my writing journey!! just a line here or there that I thought meant something! Or that could start an idea! all these little lines and fragments have worth to me, and if i put them out to the world, then they could having meaning to a bunch of you guys as well!!
If you’re having a tough time telling a story or finding meaning in your words, why not start a blog? and just write a line every so often. or a paragraph. a synospis. Just the little bits you like the shape of. Create something!! It doesn’t need to be big! And then put it out in the world!! it gets easier with practice! and then you can find your voice and the plots you like to work with; the little worlds that connect all your little ideas into something big!! there’s meaning in every word inside your head dear anon! you just need to make it real first.
take ur clutter and throw it fucking everywhere!! some of it’s gonna stick exactly where you want it. i know it seems really gosh darn hard to express an idea, so tell it in little pieces first, and then you can put the big parts together later. time is your friend when it comes to writing, because the more of it you use the better your writing is going to be. if you only write one sentence a day, then you’re still one sentence better than yesterday. don’t get discouraged. keep creating. you’re gonna do great things friend
have you ever read the god of small things by arundhati roy? it’s a really good book with really nice, casual prose. It’s also an extremely tough read because it deals with themes similar to what you’re working with. I’d try and pick up a copy if you can
I’d do two scenes right after one another early on in the book, with them interacting with each other and their peers at work, and then them interacting with one another in private. Treat them like character studies- those scenes should have v little plot information but rather work as character explorations to really lay out just how fucky these two characters are.
I’d also play up the shallow relationships they have with others and the fact that their only real source of emotional support is from each other. It’s kind of like a self fulfilling prophecy- they can’t trust anyone else, so their sibling relationship becomes twisted and because their relationship is so twisted, they can’t trust anyone else and because they can’t rely on anyone else they turn to each other which-
death
okay so the most deadly kind of punctured lung is called a
Tension Pneumothorax if u wanna research that. Death will take 30 min-1 hr from that alone, though depending on how hurt they are that could b sped up a lil
im gonna use copy paste liberally here because long medical words
‘Tension pneumothorax is the progressive build-up of air within the pleural space’ which is the space that surrounds your lungs and is filled with fluid- so a hole through the lung leaking air into that. This is mostly caused by a cut lung so the air leaks into the plural space and not out
‘The classic signs of a tension pneumothorax are deviation of the trachea away from the side with the tension, a hyper-expanded chest, an increased percussion note and a hyper-expanded chest that moves little with respiration. The central venous pressure is usually raised, but will be normal or low in hypovolaemic states.
‘ ur throat bump moves away from the side with the injury (i think?), ur chest is Big but doesnt move much (since it’s swollen with air you can’t expel) and ur veins might look big and swollen unless u bleeding a lot
symptoms!
fast breathing- trying to get that air in!
pain, likely a kind of ‘crushing’ pain, like there’s no room for a breath
bubbly/frothy blood around the injury site and probably the mouth
on the floor, not moving. like, so much pain. don’t move you lie there and die
because of all the trapped air and pressure in the chest, blood can’t pump effectively and you have a heart attack and die.
it’s a messy, ugly business. You’ve got symptoms from blood loss, lack of oxygen, and finally cardiovascular distress as you stop circulating ur blood. If you’re writing from the pov of the person dying, they’ll probably feel their heart absolutely pounding at the last few minutes as it struggles to keep up
im thinking unconsciousness ensues before you actually bite it though. Your last moments would be blue in the face, gasping with a distended chest as you try to move and can’t from pain an injury
it’d be a bad way to die. you might even drool on urself
links i used to research this
i mean this i really up to you
the most obvious reason would be that there is a clear and present threat against the actor- like someone has not only been sending threatening letters, but also photos with them proving they can see the actor even if the actor cannot see them
also the bodyguard/actor thing could b a front for their illicit relationship b.c they actor needs to ‘date’ a co star for publicity, and this is the only way to be together that the media rags won’t tear apart.
oh god oh god ho gfod
okay so i have a similar story in the works so i will try to help you but please remember. I am aromantic. I have no idea what’s happening
the first step is they can’t be too morally dissimilar!! Either the villian has to be close to good, or the hero has to be close to bad, or they both fit right in along the middle of grey! If a hero is v anti killing they can’t b with a mercenary, and if the villian is too sadistic, the heros sweetheartedness might turn them away ect ect.
Step 2!! make sure they get time together that isnt fighting. maybe they get stuck in a closet, or the hero is kidnapped an needs rescuing, whatever works! Just time that isn’t physical violence!! My favourite involves the hero dragging the villain to their favourite night nurse who helps them on the down low.
step 3~ tension!! of the platonic, romantic, or sexual kind!! Make sure they enjoy eachothers company and even plot out time to chill beat the snot out of one another. I am not good at this. Just, make them crave each others presence. Gayly. Or not gayly. I don’t know. but not in a drug way coughtwilightcough that’s bad
step 4. Identity reveal. Have this b the key turning point from beating eachother up buddies to buddies who chill and also beat eachother up. Maybe there can b cheek kissing! cuddling! platonic affection verging on something else! that thing where someone’s shirt rides up and they other has to tear their gaze away from the strip of skin at their belly
step five: smooch?? i assume smooching comes here idk i always use hand-holding as my relationship euphemism b.c kissing is nasty. but smooch.
also!! Have them make moral sacrifices for each other!! The villian ignores a mission to please the hero!! The hero lets the villian go free once or twice!! have them b interested in what makes the other tick and how they can accommodate their differences
Bruh. I got you. Ish. this isn’t my genre exactly but it certainly is @smolkitsuneposts and she’s been tormenting me for weeks.
(i swore a lot in this tutorial. forgive me)
Basically the trick is to keep things feeling just on the edge of too normal- my favourite trick is to use too many fucking adverbs, and to give just a little too much descriptions- this makes everything feel hyperaware, like the characters are taking in too much stimulus from the outside world so they can react to something.
You ever notice in horror movies, especially old hitchcock films, that they’ll zoom in close on something, or linger just a little too fucking long on some inane detail? Do that. The Lottery (you know, the short story where someone is stoned to death to appease a farming god?) Opens up with an absolutely excessive amount of detail on how nice a day it is. My english prof was like “This? This here, where the author is telling you everything is fine? Never, ever trust that.”
Make sure all the inane details you really leave your focus on are relevant later- spend three pages describing a bland cafe that’s just on this wrong side of uncanny valley? That cafe is later where someone gets murdered. Loud gasp! Or something. All of a sudden that shiny chrome countertop is stained and ugly.
Speaking of which- since you’re doing a third person narrative, the speaker can foreshadow shit. X had a habit of leaving xir car keys in odd places, and Y was forever warning xir about losing them under the fridge, beneath the counter, or some other hard-to-reach spot.
Later on, of course, the car keys are absent and hard to find just as X needs them. Have you ever read The Fall of the House of Usher? Fucking Poe spends a good page and a half describing an unseen fissure in the house, and then at the end has the house completely destroyed.
Don’t name characters- leave everyone but the most absolutely essential characters unnamed and undescribed. It’ll leave your main characters feeling isolated and alone even in like a supermarket or some shit. That said, make sure there are other characters around, they’re just empty and background (again, in the lottery very few characters are given a first and last name. One of them is the unlucky winner, of course)
I like to use the counting crows rhyme right before big events in my stories- right before a key scene my main character notices crows, and the number corresponds to this old poem. People who know the poem get a hint, but those who don’t can still pick up on the fact that something’s going to happen. The Godfather movie does the same thing if I remember correctly- whenever you see oranges, someone is either about to die, or about to almost die. Pick a thing and have your characters talk about it right before an event.
*crow noises*
Hey!! I’m so glad the blogs been helpful for you ❤
I got two other prompts really really similar to this in my asbox from an anon- were those you? please let me know so I can clear them if they are!
disclaimer: not a therapist
This would be a great first scene if you need to infodump a little bit! The therapist and the main character can go over his behaviours, setting up a general idea of what he’s like. Say he has trouble with social interaction, bringing that up now will queue the reader into the fact that the mc may miss things in conversations the reader finds easy to spot. you can also have the mc talk about how he feels as though he’s (for example) being followed, which the therapist figures is a result of his paranoia, only to reveal later that he is in fact being followed. Or maybe he isn’t. All of a sudden the reader needs to try to figure out which tropes are actually at play in plot, and which are the result of the mc’s mental illness.
You can pre-introduce characters that become relevant later by having the mc talk about them. The mc can also talk about his recent experiences, providing a history and background for the plot based fuckery, instead of just one day ‘oh fuck i’m in a car chase now there was no lead up to this’ you get a chance to see the mc talk about previous encounters that are definitely Not Normal and how he feels about them.
I don’t know how big a role the therapist is meant to play, but if you keep xir (you didnt specify a pronoun), then xe can play an integral role in piecing together information gained from the mc, another client xe has that is also related to the plot somehow, and what xe learn first hand through xir involvement in the plot. Of course, then there’s the confidentiality thing. Make sure you do research into when exactly a therapist is allowed to intervene or reveal information to the authorities.
things the mc learns in therapy can also play a part in later plot shit, ie. a big part of therapy for bpd (i know, I’m listing random stuff, but i don’t know what your mc has exactly so I’m being broad) is doing the opposite of how one feels when that feeling is negative. Your mc would be motivated to help others not by virtue of being a naturally helpful person which he might also be) but also because of techniques taught in dialectical behaviour therapy
hope this is helpful!
*buzzing noises*
okay] i researched the us program for this since most of y’all are americans (or writing fanfic about americans)
so first things first: you do get new papers. like social security or birth certificates. Im not entirely sure if you get a new passport. People tend to ask for better grades for children, but that’s not granted. the first time you change names, youre usually allowed to keep your first name to make the change less jarring, but after that it might be random
Less than 5% of people in witness protection are innocent to any crimes. Seriously.
When you’re in the program. you’re allowed to leave at any time you want. So far, no one actively abiding by the program has been killed, but people who’ve left it to go to a funeral or something have been
If you go into protection and meet someone and then fall in love with them, you cant tell them shit. even if you’re married. they never get to know. a lot of members tend to feel really isolated since they aren’t allowed to tell anyone the truth of their old life
in short- 100% legal new identity, restricted travelling, and social isolation r key features in joining the witness protection program
here’s some articles i used for more info
i recommend reading those because this is more a quick summary
eyy so this should b a fast answer hopefully
basically u want stuff that can be done in one night, and isn’t too serious?
so for actual damage
They could remove one or two of his finger/toe nails. Not all of them!! that’s serious!! but one of two would b Very Painful but Not A Big Deal. that being said, they’d have to be some pretty awful counsellors to let that pass.
they could also repeatedly knock the wind out of him by hitting him in the solar plexus. This is Terrifying, but not a big long term deal. Standing on his gut would be awful as well, but not stomping! just putting weight on his belly. contorting his limbs into awkward positions for long periods of time would also be scary and terribly, especially if they teased him with threatening to break his limb, but never going through with it
back to stepping on him- it could be really awful if they tried to make him wet his pants on a psychological level, even if he doesnt actually wet himself
also just, taunting him. Making him feel weak over crying, over being upset, over all the abuse. ‘it’s not that bad’ yes it is chad you torturous fuck
i think that should cover a night just fine!! Good luck!!
Corvidprompts 