Scorpius Malfoy…i Named You After The Edgiest Constellation I Could Think Of…but Its Still Better

I have read this book serie, called “La magie de Paris” (aka Paris’ Magic), Idk if it has been translated to english, but the main character isa teenage girl, who’s AT LEAST 5.9ft, she does fencing, she is R I P P E D, and like, there is only one character taller and more muscular than her in the whole book, and he’s a knight, so, yknow. If you want one, I got one, but only one, which is kinda sad.

i want more fucking ripped girl characters 

not “tall girl with big tiddies and thighs and couple of vague lines on her skinny arms to show bicep” or “tall girls with uwu ~acrobatic muscles~ who look like they weigh 90 lbs and have concave stomachs” 

Im talking 6+ foot girls with bull shoulders and big waists and hips. Im talking about “non-feminine" muscles that make big necks and “masculine” hands. Im talking about muscles in the midriff besides the front of the abs -even if that means you cant have an itty bitty waist to show off the massive ZZ tits that you were gonna draw on because you’re to scared to draw girls with chest muscles!! give me girls who take up space and intimidate everyone around them without being overly cutesy or “sexy” as if you gotta make up for it somehow!!!

Draw more muscular girls you cowards!!

YES OMG YES YES§ AFTER THE YEAR OF HAYLEY KIYOKO, THE YEAR OF JANELLE MONAE YES! I AM LIVING

“20gayteen” is such a powerful name for a year. I’m gonna miss it when it’s 2019

i foun d my old wallet in the drawer next to my bed and it had $400 in it im having a heart attack

Once I was wearing a silk patterned button up shirt with short sleeves and the shorts equivalent of mom jeans, and I had those chekered vans (my hair is shorter than a pixie btw) and those three girls kept on looking at me with smiles and one waved at me when we locked eyes I felt like fricking Superman walking in costume down the street

wlw culture is wearing oversized clothing and an occasional beanie in hopes that someone will realize that you like girls

smash that mf reblog if u hate pedophiles

i do have a writing style and it is called “i am gay, have access to a keyboard and the internet, and i intend to make that everyone else’s problem”

I want a girl x girl fic between Penny and the reader fic asap

LISTEN i know the game’s only been out a for a few days, but i NEED somebody to start writing fics/headcanons/imagines for:

- BenCopper X Reader

- PennyHaywood X Reader

ASAP !

I’m so in love with the game and these sweet side characters 💕

Mongolians are cool because they’ve merged their traditional and modern ways of life so rather than having poverty due to losing all their important skills they just live in their yurts with their cows and 827474874mbs internet

Writing Tips from an Editor (Who Also Writes)

People throw around the phrase “Show, don’t tell” all the time. But what does it mean? Really?

When I’m editing a client’s work, I always explain what I mean when I say “Show, don’t tell,” so I know we’re on the same page (pun intended). 

FYI: This advice is really 2nd or 3rd draft advice. Don’t tie yourself in knots trying to get this perfect on the first go. First drafts are for telling yourself the story. Revisions are for craft. 

Ruthlessly hunt down filter words (saw, heard, wondered, felt, seemed, etc.). Most filter words push the reader out of narrative immersion, especially if you’re writing in 1st person or a close 3rd person. “She [or I] heard the wind in the trees” is less compelling than “The wind rustled through the trees” or “The wind set the bare branches to clacking.” Obviously, the point of view character is the one doing the hearing; telling the reader who’s doing the hearing is redundant and creates an unnecessary distance between the character’s experience and the reader’s experience of that experience. Was/were is another thing to watch out for; sometimes, nothing but was will do, but in many instances—“There was a wind in the trees” “There were dogs barking”—“was” tells, whereas other phrasing might evoke—“The wind whispered/howled/screamed through the trees” “Dogs snarled/yipped/barked in the courtyard/outside my door/at my heels.” 

Assume your readers are smart. What does this mean? Don’t tell the reader what your characters are thinking or feeling: “Bob was sad.” How do we know? What does Bob’s sadness look like, sound like? What actions, expressions, words indicate Bob’s sadness? Does Bob’s sadness look different than Jane’s would?

It also means that you need not repeat information unless you have something new to add to it—even if it’s been several chapters since you first mentioned it. I think a lot of readers fall into this trap because writing often takes a long time. But what takes a writer days or weeks or months to write might take a reader fifteen minutes to read. So, if the writer keeps telling the reader about so-and-so’s flaming red hair or such-and-such’s distrust or Bob’s blue eyes or Jane’s job as a neurosurgeon, the reader gets annoyed. 

The last thing you want is your reader rolling their eyes and muttering, “OMG, I KNOW” at the story you’ve worked so hard to write. It certainly means you don’t need to have characters tell each other (and through them, the reader) what the story is about or what a plot point means.

Along these same lines, let the reader use their imagination. “Bob stood, turned around, walked across the room, reached up, and took the book from the shelf.” Holy stage directions, Batman! A far less wordy “Bob fetched the book from the shelf” implies all those irrelevant other details. However, if Bob has, say, been bedbound for ten years but stands up, turns around, and walks across the room to fetch the book, that’s a big deal. Those details are suddenly really important.

Write the action. Write the scene with the important information in it. Let the reader be present for the excitement, the drama, the passion, the grief. If you’re finding yourself writing a lot of after-the-fact recap or “he thought about the time he had seen Z” or “and then they had done X and so-and-so had said Y,” you’re not in the action. You’re not in the importance. Exceptions abound, of course; that’s true of all writing advice. But overuse of recapping is dull. Instead of the reader being present and experiencing the story, it’s like they’re stuck listening to someone’s imperfect retelling. Imagine getting only “Last week on…” and “Next week on…” but never getting to watch an episode. I’m editing a book right now with some egregious use of this. The author has a bad habit of setting up a scene in the narrative present—“The queen met the warrior in the garden.”—but then backtracking into a kind of flashback almost immediately. “Last night, when her lady-in-waiting had first suggested meeting the warrior, she had said, ‘Blah blah blah.’ The queen hadn’t considered meeting the warrior before, but as she dressed for bed, she decided they would meet in the garden the next day. Now, standing in the garden, she couldn’t remember why it had seemed like a good idea.”

That’s a really simplified and exaggerated example, but do you see what I’m getting at? If the queen’s conversation with the lady-in-waiting and the resulting indecision are important enough to be in the narrative, if they influence the narrative, let the reader be present for them instead of breaking the forward momentum of the story to “tell” what happened when the reader wasn’t there. Unless it’s narratively important for something to happen off-page (usually because of an unreliable narrator or to build suspense or to avoid giving away a mystery), show your readers the action. Let them experience it along with the characters. Invite them into the story instead of keeping them at a distance.

Finally, please, please don’t rely on suddenly or and then to do the heavy lifting of surprise or moving the story forward; English has so many excellent verbs. Generally speaking, writers could stand to use a larger variety of them. 

(But said is not dead, okay? SAID IS VERY, VERY ALIVE.)