Quick Editing Tip: Passing Time

hey boy don't kill yourself. green's dictionary of slang is available online and allows you to explore 500 years of english vulgarity. you can search by part of speech, source, time period, etymology, and usage. there's a whole category for gay slang. they even have specific citations listed so you can see the exact context for yourself. boy did you know that in 1927 "to kneel at the altar" was slang for "to sodomize"

are you frequently overstimulated?

it's funny although a little exasperating how artists designing "princess" or medieval-esque gowns really do not understand how those types of clothes are constructed. We're all so used to modern day garments that are like... all sewn together in one layer of cloth, nobody seems to realize all of the bits and pieces were actually attached in layers.

So like look at this mid-1400's fit:

to get the effect of that orange gown, you've got

chemise next to the skin like a slip (not visible here) (sometimes you let a bit of this show at the neckline) (the point is not to sweat into your nice clothes and ruin them)

kirtle, or undergown. (your basic dress, acceptable to be seen by other people) this is the puffing bits visible at the elbow, cleavage, and slashed sleeve. It's a whole ass dress in there. Square neckline usually. In the left picture it's probably the mustard yellow layer on the standing figure.

coat, or gown. This is the orange diamond pattern part. It's also the bit of darker color visible in the V of the neckline.

surcoat, or sleeveless overgown. THIS is the yellow tapestry print. In the left picture it's the long printed blue dress on the standing figure

if you want to get really fancy you can add basically a kerchief or netting over the bare neck/shoulders. It can be tucked into the neckline or it can sit on top. That's called a partlet.

the best I can tell you is that they were technically in a mini-ice-age during this era. Still looks hot as balls though.

Coats and surcoats are really more for rich people though, normal folks will be wearing this look:

tbh I have a trapeze dress from target that looks exactly like that pale blue one. ye olden t-shirt dress.

so now look here:

(this is a princess btw) both pieces are made of the same blue material so it looks as if it's all one dress, but it's not. The sleeves you're seeing are part of the gown/coat, and the ermine fur lined section on top is a sideless overgown/surcoat. You can tell she's rich as fuck because she's got MORE of that fur on the inside of the surcoat hem.

okay so now look at these guys.

Left image (that's Mary Magdelene by the way) you can see the white bottom layer peeking out at the neckline. That's a white chemise (you know, underwear). The black cloth you see behind her chest lacing is a triangular panel pinned there to Look Cool tm. We can call that bit the stomacher. Over the white underwear is the kirtle (undergown) in red patterned velvet, and over the kirtle is a gown in black. Right image is the same basic idea--you can see the base kirtle layer with a red gown laced over it. She may or may not have a stomacher behind her lacing, but I'm guessing not.

I've kind of lost the plot now and I'm just showing you images, sorry. IN CONCLUSION:

you can tell she's a queen because she's got bits I don't even know the NAMES of in this thing. Is that white bit a vest? Is she wearing a vest OVER her sideless surcoat? Girl you do not need this many layers!

how i sleep knowing i will pirate every single thing released on disney plus

How to show emotions

Part V

How to show grief

a vacant look

slack facial expressions

shaky hands

trembling lips

swallowing

struggling to breathe

tears rolling down their cheeks

How to show fondness

smiling with their mouth and their eyes

softening their features

cannot keep their eyes off of the object of their fondness

sometimes pouting the lips a bit

reaching out, wanting to touch them

How to show envy

narrowing their eyes

rolling their eyes

raising their eyebrows

grinding their teeth

tightening jaw

chin poking out

pouting their lips

forced smiling

crossing arms

shifting their gaze

clenching their fists

tensing their muscles

then becoming restless/fidgeting

swallowing hard

stiffening

holding their breath

blinking rapidly

exhaling sharply

How to show regret

scrubbing a hand over the face

sighing heavily

downturned mouth

slightly bending over

shoulders hanging low

hands falling to the sides

a pained expression

heavy eyes

staring down at their feet

More: How to write emotions Masterpost

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Link to the gay porn library of Alexandria.

Happy pride.

TUMBLR 101: a helpful guide for tiktok refugees

are YOU a former tiktok user trying to learn how to use tumblr to fill the void the american tiktok ban is leaving in your soul? here are some things you should know, from someone who’s going on their eighth year on this hellsite:

1. you can say anything on here. gone are the days of having to use words like “unalive” and “seggs.” murder! kill! sex! fuck! speak your mind!

2. there is a community for you on here. regardless of what you’re into or however small the fandom is, you have a place here. at least one other person will have heard of your weird obscure interest. strike up a conversation!

3. followers don’t matter. tumblr is one of the last remaining social media sites in which your number of followers means absolute jack shit. this can be disorienting at first, but once you lean into the fact that everyone on this website is equal, it’s very freeing. clout means nothing here.

4. similarly, you can post at any time. while tiktok has an algorithm that favors certain times, tumblr has no such algorithm. post whatever you want, whenever you want. every post has virtually the same chance at getting notes, regardless of when it is posted.

5. tags can have spaces between the words! this one is very exciting. tags can be a whole sentence. you can also use the tags to comment on someone’s post without actually adding onto the physical post itself (which is sometimes frowned upon and called “derailing” if you use this feature to bring up a completely different point other than the one that’s being made on the original post).

TL;DR: speak your mind, find your place, followers don’t matter, post anytime, have fun with tags!! tumblr is a wonderful site used to share things you’re excited about. be patient with yourself as you’re learning and have fun!

I got a laptop with Windows 11 for an IT course so I can get certified, and doing the first time device set-up for it made me want to commit unspeakable violence

Windows 11 should not exist, no one should use it for any reason, it puts ads in the file explorer and has made it so file searches are also web searches and this cannot be turned off except through registry editing. Whoever is responsible for those decisions should be killed, full stop.

Switch to linux, it's free and it's good.

Why the Protagonist Must Be a Problem-solver

In some ways, this post's topic sounds obvious, in others . . . not so much. On the surface, the tip seems simple, and yet, it is easily and often overlooked.

Your protagonist must be a problem-solver.

Yup. 

A problem-solver.

I don't care if she's the laziest, most passive, most dimwitted person on the planet, within the context of the plot, she must be a problem-solver (even if a reluctant one).

Otherwise, she'll feel like a weak character.

Otherwise, the plot will feel weak.

Of course, I'm sure you can find rare exceptions to this.

But 99% of the time, your protagonist needs to be a problem-solver.

So let's talk about why.

Why it's Important for The Character

Imagine a protagonist who doesn't problem-solve. She encounters the antagonist, reacts emotionally, but doesn't do anything to try to win the conflict, or at least gain the upper hand of the conflict. She won't be interesting for very long. It's hard to care about what happens to her, when she's putting no effort in to resolve it, when she doesn't care enough to try to fix it herself. It may start to feel like she's stuck in a loop--just circling the same internal responses over and over again, never really progressing, never really moving on.

Sometimes writers mistakenly think this makes her more sympathetic, but in reality, as counterintuitive as it may sound, the opposite is true. Audiences lose interest or become annoyed.

We've all met people who talk, and whine, and fume about their problems but don't do anything to better their situation. We may feel sorry for them at first, but eventually, we want them to take action to improve their predicament. Often we may even find ourselves giving advice (or in some cases, doing the problem-solving work for them).

We feel the same way about characters.

Your protagonist doesn't need to be the next Sherlock Holmes or Violet Baudelaire to be a "problem-solver."

At the most basic level, what this means is that when she encounters an antagonistic force (a problem), she's coming up with--or perhaps shifting--goals and plans (however big or small, or grand or modest), and taking action to try to make those a reality.

If she's not doing that, she's probably too passive in the plot and not exercising enough agency. The story is happening to her, but she's not doing anything to make the story happen. She's not influencing the direction of the story.

When the protagonist is the one coming up with goals and plans, and implementing them, the audience becomes more invested in her. They want to stick around to see if she's successful. She also now holds some accountability over what happens--the consequences--and that actually makes her more interesting and more sympathetic. What happens, good or bad, is on her. She holds responsibility. 

If your protagonist isn't problem-solving, it may be a sign that her wants aren't strong enough. Solid stories will showcase the protagonist's deepest desires (however big or small, or grand or modest), what she would sacrifice almost anything to obtain, avoid, or maintain. If the right desire is in jeopardy, the protagonist should naturally be driven to problem-solve. Characters with strong wants are more compelling. And in reality, we all have powerful wants we house deep within our hearts. 

Great stories will test and challenge the deep desires of the protagonist's heart. And if that's not happening, you likely haven't figured out your protagonist's deepest desires or you need to alter the character so that she desires what she desires more deeply. Don't settle on something she kinda wants. Find what she'd be tempted to sacrifice her life for--literally or figuratively (meaning her current lifestyle). What does she want to obtain, avoid, or maintain bad enough, that she'd consider doing things she wouldn't ordinarily do? That's the kind of want you should showcase--whether it be obtaining recognition as employee of the month, avoiding responsibility by taking on a new identity, or maintaining control by offing all rebels.

It's usually helpful to focus on an abstract want--obtain recognition, avoid responsibility, maintain control--that can then manifest into various concrete goals. Most people aren't going to give their "lives" to become "employee of the month," but many have gone to such lengths to obtain recognition; becoming employee of the month is just one way to obtain that. So even if the goal seems modest on the surface, tie it to a deep abstract want. (A bit of a tangent, but it's useful, so I left it in here 😉)

When the protagonist is problem-solving, it conveys to the audience what she cares about. If the rebels are increasing in power, and she doesn't do anything about it, then obviously she doesn't really care about being in control very much. That's not a deep desire of her heart. So we need the protagonist to problem-solve to help convey character.

And finally, if she's not struggling to overcome (problem-solving), she's probably not growing through a character arc. She's stagnant. She's not changing her worldview as she strives for success, nor is she wielding her beliefs, growing in resolve. This can make any attempt at an internal plotline feel repetitive or nonexistent, because the character isn't progressing on an internal journey. She's just stuck in the same spot.

Why It's Important for the Plot

Solid stories will showcase the protagonist's deepest desires, and even if those desires are abstract (obtain recognition, avoid responsibility, maintain control), if the character wants them bad enough, they will manifest into concrete goals (employee of the month, new identity, off the rebels) that have specific plans (show up on time to work, move to a new city, locate the rebels' base).

So the protagonist has a goal. The antagonist opposes the goal.

And since there should be an antagonist for nearly every scene, this means there are problems in nearly every scene.

If the protagonist isn't trying to solve those problems, by adjusting his goals and plans, then it's likely the plot isn't properly progressing. Like I mentioned with the internal journey above, the external journey probably feels repetitive, or in some ways nonexistent. It's just circling the same situation over and over, in the toilet bowl.

If you find yourself arguing against this, then it's likely because another character is the one doing most of the problem-solving, in which case, it's also highly likely that character is the true protagonist, and your "protagonist" is really more of a viewpoint character spectating the external plotline.

The plot needs conflict in order to progress properly. If the antagonist shows up, and the protagonist allows himself to just get beaten, it's not strong conflict. Sure, stuff is happening, but if the antagonist is hammering him to the ground without his resistance, it's not much of a conflict. It's passive victimization. And while that might work in a scene or two, it's not going to hold for a whole story, or even a whole act.

A passive victim isn't a problem-solving protagonist. Obviously.

So, suffice it to say, your protagonist needs to be a problem-solver.

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