Felt Like Messing With The Light

She liked my suggestion! XD

You said you needed some doodling ideas? Draw the alter ego version of yourself that is a suave villain. ;D

I think I got the vibe right? 

I needed this, thank you!

You are precious.

Two Cloaked Figures

Two cloaked figures at the end of the street

Sneaking and lurking in the dark of the moonless night

Beware of their nimble hands, lest there be knives in their robes



How would we know they don’t possess knives but only scars?

Scars from their bondage and resistance, hollow trust enveloping like second nature

A path to choice they seek, to a free nowheresville and to life



Two cloaked figures at the end of the street

Sneaking and lurking in the dark of the moonless night

Beware of their fiery spirits and eager appetites



I would know that they’d steal your hearts and make you want to fly

Two cloaked figures at the end of the street

Two lives inspiring hundreds, if only we would see

-The Creaky Writer

I love it!!!

i’ll clean & colour this another day im so tired rn

This is so bittersweet and yet beautiful at the same time

(kind of) old art

how would hawks be with an asexual s/o? 🥺

Hey anon do you wanna know my random head canon for Keigo??

.... I head canon Keigo as asexual

I don’t know WHY I think that, I just kinda do.

Like, I feel like he doesn’t really go off of sexual attraction, so I think he’s somwhere on the asexual spectrum.

I feel like he just doesn’t really get sexual attraction. (Oh btw I’m talking about canon Keigo)

Now, if he wasn’t asexual, I ligit don’t think he would care all that much if his S/O is.

Like, you would tell him, and if he didn’t know what asexual meant, he would ask some questions, but other than that, manz wouldn’t care.

“Huh, alright. I support you no matter what baby, if I do anything that your uncomfortable with, let me now ok?”

He gets very defensive if anyone try’s to diminish your sexuality, he’ll get super protective.

“Hey, sweetheart, don’t listen to that guy. He doesn’t know what the hell he’s talking’ about.”

At the end of the day, Keigo loves you, no matter your sexuality!

Tamaki is the sweetest cinnamon roll ever!

Tamaki Amajiki x Reader

Warnings: angst

I‘m here

It was happening again.

He saw you.

You were in that building saving the last person in there.

You got the kid out of there.

Then the building collapsed.

He was just able to watch.

He wanted to help you, scream at you to get out of there.

Heck, he even considered telling you to let the kid stay in there just so that you would be safe.

But he wasn’t able to do anything.

The scenery switched, you were in a hospital bed.

Badly wounded. Hurt. And not conscious.

Your heart rate was slowing down, your breathing getting more shallow.

Then it stopped.

A doctor and a few nurses were trying to save you, bring you back to him, but they weren’t able to.

You were dying and no one was able to help.

Normally he would wake up now, sitting up straight, only to have an anxiety attack and not realising that you’re next to him, peacefully sleeping.

But not this time.

This time he felt someone slightly shaking him.

When he opened his eyes he saw that you were the one shaking him, probably to wake him up.

”Tama are you okay? You are crying...“

He touched his cheek and felt that he indeed, was crying.

”were you having a nightmare again?“

You knew him too well.

He thought he wasn’t that obvious.

He didn’t tell you about his nightmare. Him seeing you die every night now.

But you were not stupid.

Of course you noticed how panicked he looked in his sleep. How relieved he looked when he saw you wake up. How he would hug you tighter and longer in the morning.

How scared he was when you guys were called to a rescue mission.

”you don’t have to tell me if you don’t want to. Just know that I’m here and am listening if you feel ready.“

You hugged him.

This small action made him realise how lucky he is to have you by his side.

He started crying. Body shaking and breathing broken.

”sshhhh... it’s okay, I’m here... let it all out...“

He felt you patting his head, playing with his hair and whispering sweet nothing in his ear.

He held you tight. Not wanting to let you go, still not having really realised that you’re fine and it was, once again, just a dream.

”y-you were-” his voice broke. He wanted to tell you what was happening in his dream but his crying got in the way.

”it’s okay... take your time...“

”you- you were-” his crying got worse.

He really wanted to tell you, he wanted to let you know what was waking him up at night and scaring him so much that he was crying like that.

You took his face in your hands and looked him in the eyes. They were red and puffy, tears still streaming down his cheeks with no end.

”it’s okay. Don‘t force yourself.“

He nodded slightly and pulled you close again.

He buried his head in the crook of your neck, tickling you slightly with his soft hair.

You pulled away again, holding his face like before but kissing him this time.

The kiss was a bit salty because of his tears, but you couldn’t care less at the moment.

The kiss actually calmed Tamaki down a bit so he tried to tell you again about his dream.

”Y-you were dying... you tried to save a child but then the building collapsed... the doctors couldn’t save you... you- you died in front of me... I-I wasn’t able to help you...“

His crying got worse again, breaking off his words and keeping him from seeing your smile.

”It’s okay...“

”No it’s not! You died and i was useless! I was just standing there! I saw the building collapse!“

He didn’t want to yell at you, but he couldn’t understand why you weren’t mad at him for letting you die.

You on the other hand couldn’t understand why he was blaming himself for that.

You flinched slightly at his loud voice, pulling him in for another hug.

”it’s not your fault Tama. I know it hurts but you can’t save everyone... please don’t blame yourself...“

”I-I just don’t want you to leave me...“

”i won’t. It was just a dream remember? I’m here. I’m save and if anything would happen to me you would save me.“

”B-but what if I can’t... what if that dream becomes reality...“

”then I will fight for my life. I won’t leave you Tamaki“

You pulled away from him again just to kiss him. His breathing was almost normal again and his crying had stopped, the tears left on his cheeks slowly drying before you wiped them off with your thumbs.

”It’s okay... see? I’m right here. You don’t have to worry.“

You pulled him into a hug again and laid down with him.

With you holding him he finally had a night without this dream again.

For all you writers out there!

When To Keep Your Writing Stiff (pt 7)

Part 6

Part 1

Gonna shoutout a specific fanfic, “Salvage” (ATLA) for writing that is even leaner than mine is, and mine has zero fat whatsoever. This was really good. I particularly like how some scenes were only 2 or 3 lines long as an example of what I’m going for here.

When I say “stiff” in the following examples I’m specifically talking about a lot of the same syntax, few similes and metaphors, few ‘said’ synonyms, very little, well, “life” in the prose. And this can be good in a few situations.

1. Your narrator is in shock

Shock doesn’t all look the same, but the kind of shock I mean is the one where the person is really quiet and un-emotive, they’re probably not speaking or reacting much to whatever catastrophe just happened and probably not responding to their name or anything spoken to them. Their body is pretty much going “uhhhhhhhhh factory reset!” when whatever it is, is too much to process.

A asks them a question. Once. Twice. B stares ahead. There’s a brown stain on the wall that looks like a thumb.

So if they’re narrating, they’re probably going to be giving the absolute bare minimum, need-to-know information and won’t be thinking about the best adjectives and adverbs. Especially if you normally write with fluffier prose, a jarring shift like this can really help sell the shock and dissociating of the character, something so traumatizing that it effects how the story is told.

2. Your narrator is depressed

Somewhere between New Moon’s 4 pages of just Months to show Bella did absolutely nothing in a depression rot and normal prose (though it was effective, particularly in the movie when they could draw out the words on the screen for longer and did the whole spin-around-her-depression-chair montage).

January came. It rained a lot.

They’ll probably either narrate very thinly, or listlessly. They might focus on a random detail and start going on a long ramble about that one detail that isn’t at all important, but it’s either all they can think about or all that can move them to feel anything in this moment, like:

On the bedside table, that coffee mug still sat there in a thin sheet of dust. What had been liquid now long since dry and gluey. It still sits there, collecting cat fur.

This might be the best place for sentences that all sound and flow exactly the same, but use it sparingly.

3. Your narrator is having a panic attack or trapped in a traumatic situation

Different from shock in that while they are physically capable of moving and interacting, they can’t let themselves describe what they’re seeing and feeling in grand detail. Maybe they’re moving through the horrific aftermath of a battle and all they can describe is the mud under their feet and how it squelches. Or they simply say that “there’s bodies everywhere” because looking too long or too hard at who those bodies belonged to is too much.

4. You’re writing something that has incredibly fast pacing

This post was inspired by a fic I just wrote that spanned about 5 months in about 18k words. Narrative was skipping days ahead between paragraphs at some point as my character was processing the end of an abusive relationship. It sped up and slowed down where necessary, but compared to its sequel that I also just finished (22k words across 7 days), I’d covered a whole month in about 2 sentences in the first one.

See nearly any part of Salvage (or my fics if you feel like it)

What happened in that month didn’t matter, only what was before and what’s different now and how this character realizes how their life is slowly changing, some things they never noticed that are suddenly right in their face or things that quietly slipped away.

—

TLDR; sometimes the lack of emotion and sensory details and frenetic, dynamic syntax is the point, that can sell the reader on the narrator’s mental state far better than picking the juiciest adverbs. If it’s so impactful to them that the physical telling of the story is changed, you’ve done your job.

Absolutely stunning!

Art by Max Hay

LETS TORTURE ALL THE CHARACTERS

I’m NOT SORRY