I Watched One (1) Video On How To Draw Hands That Changed My Life Forever. Like. I Can Suddenly Draw

how to write creepy stories

over describe things

under describe things

short sentences in rapid succession build tension

single sentence paragraphs build dread

uncanny valley = things that aren't normal almost getting it right

third person limited view

limited expressions

rot, mold, damage, age, static, flickering, espsecially in places it shouldn't be

limited sights for your mc - blindness, darkness, fog

being alone - the more people there are, the less scary it is

intimate knowledge, but only on one side

your reader's imagination will scare them more than anything you could ever write. you don't have to offer a perfectly concrete explanation for everything at the end. in fact, doing so may detract from your story.

i think that, if youre usamerican and any time someone calls out your lack of knowledge on global geography you start talking about how bad the usa education is and how its actually not your fault that you dont know what continent nigeria is on because you cant look at the google maps bc donald trump will personally shoot you, youre very annoying

after eddie introduces a demogorgon to one of his hellfire campaigns, the kids get a little squirmy. they're nervously looking at each other and aren't engaging as excitedly as they usually do. when he calls time, he watches dustin rummage through his backpack and produce a walkie talkie.

he watches, a bit dumbfounded, as the kid demands a 'check-in'. all at once, multiple different voices come over the channel. stating a name and then saying 'safe.' ("nancy, safe." "robin, safe." "max, safe.")

"steve?" dustin demands. there's only static. "steve!" a little more frantic this time.

"he left to pick you up." a female voice replies, "he's probably fine. you'll see him soon."

none of the kids look particularly pleased, and pack up hastily. eddie and the other hellfire members all share confused glances. he, more morbidly curious than anything else, follows the little sheep as they hurry out of the school.

dustin is fucking restless as they all stand in the empty parking lot. he won't stay still and none of them are answering any of eddie's questions. and he only gets more confused when a brown beemer pulls in, windows down and playing depeche mode through the speakers. dustin goes to sprint towards it, and he has to hold him by the collar to stop him getting run over.

the beemer pulls up and steve harrington, in all his glory, steps out, frowning. dustin wrenches out of eddie's grip and all but bodies the guy, wrapping arms tightly around his midsection. steve, still looking puzzled, hugs back. lucas and mike trail after dustin.

"we called a check-in." dustin says, a bit muffled from where his face is smushed into steve's shirt. steve goes sort of pale, and- and presses a goddamn kiss to the top of henderson's head before tightening the hug.

"shit, i'm sorry." and eddie believes him. he sounds so guilty. "i meant to replace the batteries before i left. sorry, i'm okay." dustin pulls back and scrubs at his eyes. lucas takes his place, though the hug he gives is more like one of those bro-hugs jocks seem to love. steve smiles regardless. he just ruffles mike's hair, who pouts in response but looks relieved nonetheless.

"asshole." he mutters. "rule four, walkies on at all times." steve nods as the kid half-heartedly waves goodbye to eddie and hops in the backseat of the beemer. lucas follows. dustin seems reluctant to walk around the car, to take his eyes off steve for even a second.

"you wanna stay over tonight?" steve asks, warm and gentle. he folds his arms and in that moment eddie thinks they look sort of like brothers. "robin and me were gonna watch some films. we can call your mom from mine."

the kid nods, looking a bit happier. steve slaps him on the back and motions him to get in the car. dustin swivels to hug and say goodbye to eddie (who sort of forgot he was physically present in this moment) before doing as he was told.

steve turns to eddie. which- whew! hi pretty eyes.

"sorry." he smiles and eddie can't for the life of him figure out what he's apologising for. "they, uh- yeah. them." he gestures vaguely at the car and eddie just chuckles.

"hey, man, no worries." he says, a little breathless that he's having a conversation with the steve harrington. "they okay? never seen henderson look so rattled." steve nods, then seems to think better of it and just shrugs. cocks his hip to the side (stop fucking staring at his hips, munson, lord!)

"they will be." he glances back at the beemer, which is now full of childish bickering. pauses to think and then asks, "you using demogorgons in your campaign right now?"

eddie blinks at him. "yes? yeah. what the fuck- how do you know what that is? what-" steve just laughs.

"long story." there's a haunted look in his eyes before he continues, "just, uh- that's probably what upset them. demogorgons and us- them, i mean-" he waves his hand. "bad memories. hard to explain, but... if you could..." he doesn't need to ask, seems like he doesn't know how or even if he's allowed.

"got it, ill tweak the campaign." harrington smiles at him, something small and genuine, and murmurs a thanks. offers him a fucking lift, which eddie declines, motioning to his van. harrington just nods, tells him to get home safe and then clambers back into the car, yells at the kids to put seatbelts on with all the exasperation of a single dad, and pulls away.

eddie watches them go, having seen a side of harrington he'd thought dustin had been lying about. steve harrington, the caring babysitter, everyone's older brother, a changed man.

he starts escorting the kids to the parking lot more often.

hey, don’t cry. one half flour one half yogurt knead into dough and fry for easy flatbread and dip in balsamic vinegar, okay?

A tutorial on a (bit cheating) way of creating fictional maps.

Open your editing software (RECOMMENDING Krita, since it's free and it's very good).

Step 1: Google "X country silhouette" and copy it.

Paste it onto the canvas.

Step 2: Separate the silhouette from the background you copied with it! You can do that by using magic wand selection tool or by making a gradient map with black on 49,9% and transparent on 50% on the slider.

Step 3: Repeat several times with numerous countries and/or islands, cities, municipalities, communes, continents et cetera.

Step 4: Combine, mesh, stretch, rotate, mirror - go ham, make it work.

Step 5: Erase and add.

Step 6: Have your map outline ready, copy/paste it several times in the same doc on different layers and edit in different ways like biomes, kingdoms, mountains and other.

Step Mountains+: To figure out mountains, make another layer on the doc and do something like this:

-and then in every polygon you add an arrow.

Where arrows meet or transfer onto continents, add mountains.

Color the sea with a couple layers of depth and you're done :D

100 Dialogue Tags You Can Use Instead of “Said”

For the writers struggling to rid themselves of the classic ‘said’. Some are repeated in different categories since they fit multiple ones (but those are counted once so it adds up to 100 new words). 

1. Neutral Tags 

Straightforward and unobtrusive dialogue tags: 

Added, Replied, Stated, Remarked, Responded, Observed, Acknowledged, Commented, Noted, Voiced, Expressed, Shared, Answered, Mentioned, Declared.

2. Questioning Tags 

Curious, interrogative dialogue tags:

Asked, Queried, Wondered, Probed, Inquired, Requested, Pondered, Demanded, Challenged, Interjected, Investigated, Countered, Snapped, Pleaded, Insisted.

3. Emotive Tags 

Emotional dialogue tags:

Exclaimed, Shouted, Sobbed, Whispered, Cried, Hissed, Gasped, Laughed, Screamed, Stammered, Wailed, Murmured, Snarled, Choked, Barked.

4. Descriptive Tags 

Insightful, tonal dialogue tags: 

Muttered, Mumbled, Yelled, Uttered, Roared, Bellowed, Drawled, Spoke, Shrieked, Boomed, Snapped, Groaned, Rasped, Purred, Croaked.

5. Action-Oriented Tags 

Movement-based dialogue tags: 

Announced, Admitted, Interrupted, Joked, Suggested, Offered, Explained, Repeated, Advised, Warned, Agreed, Confirmed, Ordered, Reassured, Stated.

6. Conflict Tags 

Argumentative, defiant dialogue tags:

Argued, Snapped, Retorted, Rebuked, Disputed, Objected, Contested, Barked, Protested, Countered, Growled, Scoffed, Sneered, Challenged, Huffed.

7. Agreement Tags 

Understanding, compliant dialogue tags: 

Agreed, Assented, Nodded, Confirmed, Replied, Conceded, Acknowledged, Accepted, Affirmed, Yielded, Supported, Echoed, Consented, Promised, Concurred.

8. Disagreement Tags 

Resistant, defiant dialogue tags: 

Denied, Disagreed, Refused, Argued, Contradicted, Insisted, Protested, Objected, Rejected, Declined, Countered, Challenged, Snubbed, Dismissed, Rebuked.

9. Confused Tags 

Hesitant, uncertain dialogue tags:

Stammered, Hesitated, Fumbled, Babbled, Mumbled, Faltered, Stumbled, Wondered, Pondered, Stuttered, Blurted, Doubted, Confessed, Vacillated.

10. Surprise Tags

Shock-inducing dialogue tags:

Gasped, Stunned, Exclaimed, Blurted, Wondered, Staggered, Marvelled, Breathed, Recoiled, Jumped, Yelped, Shrieked, Stammered.

Note: everyone is entitled to their own opinion. No I am NOT telling people to abandon said and use these. Yes I understand that said is often good enough, but sometimes you WANT to draw attention to how the character is speaking. If you think adding an action/movement to your dialogue is 'good enough' hate to break it to you but that ruins immersion much more than a casual 'mumbled'. And for the last time: this is just a resource list, CALM DOWN. Hope that covers all the annoyingly redundant replies :)

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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How to draw: Not white characters

How to draw a Black person

How to colour Black people skin tones

How to draw dreadlocks

How to draw African hair

How to draw curly hair

How to draw braids

How to draw braids part 2

How to draw cornrows

How to draw Bantu knots

How to draw two strand twists

How to draw an Asian person

How to colour darker skin tones with alcohol markers

How to draw hijabs/traditional Muslim hair coverings

How to draw a hijabi girl

All links and art provided by @ itsajart on TikTok

Before you go “mY aRt sTyLe iS dIfFrEnT tHoUgH” you can moderate it and play around with your style to get it to fit.

Circling vs. Zigzagging Conflicts

Nearly every writer understands that a story needs conflict. The protagonist sets off to fulfill a goal, runs into an antagonistic force, and their struggle creates conflict. This should happen in the story as a whole, this should happen in acts, and it should happen in almost every scene--the difference is that the smaller the structural unit, the smaller the antagonist and conflict (simplistically speaking).

Today I want to talk about a sneaky problem I sometimes see when editing manuscripts, one that relates to conflicts.

Sometimes the writer simply “circles” the conflict.

What I mean is that after a given conflict, nothing has actually changed in the story. We just completed a “circle.”

For example, say the protagonist is a favorite target of the schoolyard bully. They get into a verbal fight, but when it's over, nothing's different. The conflict didn't have any consequences.

It may not sound that bad.

And if it only happens once in a while, and there are enough other conflicts going on, it may not be.

But if this happens repeatedly or this is the main conflict, the plot isn't progressing. It just did a circle and the characters ended up in the same situation they were before the encounter. Essentially, no matter how exciting the scene may seem to be, you could still cut it and the story would be the same.

Let's look at an even less obvious example.

The protagonist needs to get Object X from Character B.

The protagonist finds a way to successfully steal it.

But then immediately afterward, Character B steals it back.

The scene ends, and the protagonist is back at square one.

It doesn't sound that bad, does it?

And if it only happens once in a while, and there are enough other conflicts going on, it may not be.

But if this sort of thing happens repeatedly--over and over and over--the plot isn't progressing. You're just going back and forth and back and forth and back and forth. And if we just arc that path a bit, guess what? It creates a circle.

Another example:

The protagonist has a problem.

But she's not taking action to solve the problem. 

Yes, she reacts emotionally to the problem.

She may even sometimes come up with a plan for how to try to solve the problem.

But she doesn't execute it. Or, some other problem comes up that keeps her from executing it.

And rather than come up with and execute a new plan to address that problem.

She just reacts emotionally to the problem.

Imagine this going on for multiple scenes.

The plot isn't progressing. She's just ruminating.

It still feels like the text is just circling the conflict.

Please know I'm not saying a story can never do these things. On rare occasions, circling conflicts can be useful, like when the point is to show the audience how some things don't change. My first example may arguably work near the beginning of the story, to show what the protagonist's day-to-day life is like. My second example can sometimes work as a frustrating irony. And my last example, well . . . don't do my last example. Okay, okay, maybe it could work to show off how the protagonist is incapable of or has the flaw of never moving forward (and chances are it'd probably be better to illustrate that through summary, rather than scene).

And some degree of circling can work, when the story needs to end with the characters and world in the same place they started, like in a serial, but note that usually through the installment, there isn't much circling.

And often, even if the external circumstances complete a circle, the journey changed the character internally in some significant way.

BUT if you are repeatedly writing examples like those above, where the situation at the end of a scene or act is essentially the same as it was at the beginning of the scene or act, then you aren't moving the story forward.

Sure, conflict may show up on the page, but the text is just circling it.

Instead, it's much more effective to create a zigzag. 

If we wanted to keep this super simple, we might say the scene (or act) needs to move from a positive situation to a negative situation, or a negative situation to a positive situation. Or, a positive situation to a better situation, or a negative situation to a worse situation. Essentially:

+ --> -

- --> +

+ --> ++

- --> --

This is a good starting point, but I admit, it sometimes feels oversimplified to me.

In any case, the situation the character is in, has changed.

The story didn't do a circle. It did a zigzag (or zigzigger or zagzagger). 

The protagonist had a goal, encountered an antagonist, had a conflict, and the conflict came to a definitive outcome (if only on the small scale for that scene). It hit a climax or turning point.

And that outcome carries consequences.

The protagonist gets in an argument with the bully and gets suspended for his language. If he's suspended, his parents will ground him, and he won't get to go on an upcoming date with his crush. It's a setback.

Character B steals Object X back and in the process, mortally wounds the protagonist. Now the protagonist needs to get help before they die.

The protagonist takes action to solve the new problem, and not only succeeds, but manages to solve her original problem at the same time.

But often just adding consequences isn't enough. We need to make sure the consequences aren't or can't be undone, at least not easily or coincidentally. We don't have the protagonist's dad have a serendipitous change of heart and simply allow the protagonist to go on the date.

Don't undo what you just did (generally speaking). 

If the protagonist ended with a bigger or new problem, make him put in the effort to try to solve it. (See the "No, and . . ." vs. "Yes, but . . . " rule under "Disaster.")

And don't forget my "acid test" for plot progression. At the end of the scene (or act), ask, did the protagonist's current goal and/or plan shift? If the answer is no, chances are you did a circle. (Or you at least left things stagnating). If the answer is yes, something changed.

As I mentioned above, sometimes the change is internal. 

Maybe Character B did simply steal Object X back, but maybe that leads to the protagonist realizing he doesn't want Object X as much as he wants revenge on Character B. He hatches a plan to exact that.

While that may not be as strong as the protagonist getting mortally wounded, it's better than nothing changing, and the experience does change the direction of the story.

Personally, I'd still be cautious of writing such a situation, though. In most types of stories, we want consequences to be both internal and external.

But that topic could be another post.

So in closing: zigzagging conflicts is better than circling them.

Adieu.

neocities guide - why you should build your own html website

do you miss the charm of the 90s/00s web where sites had actual personality instead of the same minimalistic theme? are you feeling drained by social media and the constant corporate monopoly of your data and time? do you want to be excited about the internet again? try neocities!!

what is neocities?

neocities is a free hosting website that lets you build your own html website from scratch, with total creative control. in their own words: "we are tired of living in an online world where people are isolated from each other on boring, generic social networks that don't let us truly express ourselves. it's time we took back our personalities from these sterilized, lifeless, monetized, data mined, monitored addiction machines and let our creativity flourish again."

why should I make my own website?

web3 has been overtaken by capitalism & conformity. websites that once were meant to be fun online social spaces now exist solely to steal your data and sell you things. it sucks!! building a personal site is a great way to express yourself and take control of your online experience.

what would I even put on a website?

the best part about making your own site is that you can do literally whatever the hell you want! focus on a specific subject or make it a wild collection of all your interests. share your art! make a shrine for one of your interests! post a picture of every bird you see when you step outside! make a collection of your favorite blinkies! the world is your oyster !! here are some cool example sites to inspire you: recently updated neocities sites | it can be fun to just look through these and browse people's content! space bar | local interstellar dive bar creature feature | halloween & monsters big gulp supreme peanutbuttaz | personal site dragodiluna linwood | personal site patho grove | personal site

getting started: neocities/html guide

sound interesting? here are some guides to help you get started, especially if you aren't familiar with html/css sadgrl.online webmastery | a fantastic resource for getting started with html & web revival. also has a layout builder that you can use to start with in case starting from scratch is too intimidating web design in 4 minutes | good for learning coding basics w3schools | html tutorials templaterr | demo & html for basic web elements eggramen test pages | css page templates to get started with sadgrl background tiles | bg tiles rivendell background tiles | more free bg tiles

fun stuff to add to your site

want your site to be cool? here's some fun stuff that i've found blinkies-cafe | fantastic blinkie maker! (run by @transbro & @graphics-cafe) gificities | internet archive of 90s/00s web gifs internet bumper stickers | web bumper stickers momg | gif gallery 99 gif shop | 3d gifs 123 guestbook | add a guestbook for people to leave messages cbox | add a live chat box moon phases | track the phases of the moon gifypet | a little clickable page pet adopt a shroom | mushroom page pet tamaNOTchi | virtual pet crossword puzzle | daily crossword imood | track your mood neko | cute cat that chases your mouse pollcode | custom poll maker website hit counter | track how many visitors you have

web revival manifestos & communities

also, there's actually a pretty cool community of people out there who want to bring joy back to the web! melonland project | web project/community celebrating individual & joyful online experiences. Also has an online forum melonland intro to web revival | what is web revival? melonking manifesto | status cafe | share your current status nightfall city | online community onio.cafe | leave a message and enjoy the ambiance sadgrl internet manifesto | yesterweb internet manifesto | sadly defunct, still a great resource reclaiming online social spaces | great manifesto on cultivating your online experience

in conclusion

i want everyone to make a neocities site because it's fun af and i love seeing everyone's weird personal sites that they made outside of the control of capitalism :) say hi to me on neocities

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"