Why Is So Much Lesbian Stuff On Here Centered Towards Like.,.,..,.,,. Sex Things. I Am Sex Positive N

the one and only thing that sucks about jazz is that if you forget the title of a song you're just fucked. what are you supposed to say? "the one that goes DOOODOODOO DOO DO BWEEEEEWWW DOOOOOO"??

reblog this for good luck

sighhhhh

Ain't nothin worse than being a hopeless romantic AND a lesbian

how to write relatable characters

writing relatable characters may seem like an easy task, especially when you’re constructing your protagonist. but what if you want to make your antagonist likeable? what if you want people to hate your protagonist but still root for them? all of this and more requires that your characters be relatable. they need to feel real, so how do you do that? here’s how:

- flaws: this is probably obvious. everyone has flaws, so we should give our characters flaws, too. this applies even if your character is non-human; they cannot escape the personification that we as writers or readers project onto them. we are humans reading, so we expect to see human qualities everywhere we look. if you’re having trouble of identifying your character’s flaws, here are some prompts for ways to think about flaws beyond a list:

what skills do they lack? what do they struggle with?

can their strengths be turned against them as a weakness?

what makes them react emotionally or impulsively?

are they aware of their flaws? if so, do they want to improve them or change them?

- quirks: these are what make your character unique or special, and no, i don’t mean purple eyes or unique physical traits. i mean: what makes your character authentically themselves? what traits define them that few others have? some ways to think about this are:

how do they react when nervous? do they have a tell? similarly, how do they react on behalf of any emotion?

what skills do they have that hardly anyone else has?

what obscure thing are they obsessed with?

do they have a unique outlook on life compared to their peers?

- values: these come from life experiences: where we were raised, our family and friends, our community, religious affiliations, etc. i suggest identifying eight to ten values that define your character and then narrowing that list down to five values that mark their core or essence. think about how these values influence their choices, decisions, and ultimately, the plot of the novel. here are some more prompts to think about values:

how do they react when their values are challenged? are they one to speak up or do they sit back in the shadows?

what, if anything, will change or shatter their values?

are their actual values misaligned with their believed values?

- stakes: what is at risk for your character? what is motivating them? stakes don’t need to be over the top or life or death; they can be as simple as maintaining a relationship or reaching a goal. unless there’s an outside influence (ie. percy’s mother being kidnapped in The Lightning Thief), most stakes—especially those relatable—tie back to values. even those influenced by outside factors can tie back to values: the only reason percy is motivated to get his mother back is because he cares for her and she is the one person who has always advocated for him and cared for him. he values family and riordan uses his family to motivate him and incite the plot. generally, there will be one overarching stake for your character, but throughout your novel, there should be several smaller stakes. these may not service the plot but should elaborate on your character nonetheless. some ways to think about stakes include:

how can i use internal or external factors to create convincing, relatable stakes that tie back to basic values?

why does the overarching stake matter to my character? why do they care?

how can i raise the stakes or introduce new ones that are relevant to my character and illustrate them as a relatable being?

- connection: even if your character is an introvert, they will still be connected to someone, something, or even an idea. we, as humans, look to certain people, pets, objects, and ideas to maintain our sense of reality whether we realize it or not. if your character prides themselves in having no attachments, think about the ideas or themes that mark the cornerstones of their reality. most human beings strive for some form of connection, so here are more prompts for thinking about your characters and connection:

what does connection mean to my character? how do they show how they value their connections or relationships?

how does my character’s behavior change when around different connections?

what connections define my character and their reality? how will these connections influence my character and/or the plot?

how will removing or challenging a connection change, influence, or motivate my character?

a good rule of thumb is to treat a character as a human, not a plot device. there is a time or place in which a character must act as a plot device, but if you’re wanting your readers to be compelled by your narration and the characters within them, you should strive to write your characters as human (aka as relatable). one of the greatest pleasures i find in writing is when other’s identify themselves in my writing.

you’re not just here to tell a story, you’re here to connect with others through the illustration of your characters. let the reader navigate your prose as a detective, to search for and identify the evidence provided by you. that is to say, show us how these things manifest in your character. don’t tell us.

happy writing! hopefully this post gave you some ways to start thinking about how to show the relatability of your character. if you have any questions about implementing these tools or about writing characters, our ask box is always open.

Grace: Let me see what you have.

Diego: *running with a knife in his hand* A knife!

Grace: No!!

Oblivious pining prompts:

Accidentally admitting that the other is really pretty, leading to both of them getting very flustered

Quickly sewing back the loose button of their shirt that came off at the last minute, realising that you two are extremely close

Pretending to be married for reasons, feeling very giddy whenever someone refers to you two as a couple

Walking past a busy crowd, hands entwining on their own and then realising it after someone points it out

Rambling about something you both love and all you can do is stare at them lovingly, when suddenly they also turn to look at you and now you're both just staring at each other

Making lucky charms for each other, being reminded of the other whenever they look at it

Fixing each other's clothes (+ if they say "you look good")

Learning more about their interests so they have a common thing to talk about

Thinking that the other doesn't like them in that way, while their friends watch both of them become an incoherent mess in front of each other, wondering when they'll finally ask each other out

Always finding excuses to stay with each other

(X)

these pictures of natasha live rent free in my head

Am I still butthurt about Natasha Romanoff's death? Yes.

Am I still butthurt about Tony Stark's death? Also yes.

Do I still stand by the fact that Clint should've jumped of the cliff even tho nat sacrificed herself for everyone? Definitely.

I'm just saying that yall can't really use the whole 'but Clint had a family' thing either cause tony did too. Also yall do realize that dude deadass went on a whole ass killing spree during that 5 year gap. Those people had families too. I understand that natasha's death made more sense because of her character arc and shit tho. She deserved better tho cause sis didn't even get a damn funeral like tony did. I get that she wasn't as known and shit but like- damn.

childhood best friends to enemies to lovers has got to be the best trope to ever exist idccc