By  Andrius Matijosius

junhong: i failed my safety course today.

himchan: why? what happened?

junhong: one of the questions was "in case of fire, what steps would you take?"

himchan: and?

junhong: well apparently "FUCKING LARGE ONES" isn't an acceptable answer.

Evil siblings? Nay, sworn enemies and time travelling lovers ;) ❤️💙

i love seeing cardinals and bluejays together i’m always like “hehe.. evil siblings”

Seems to me the problem with Uk’otoa is that he isn’t a great hirer. Like we’ve seen/know of 4 warlocks so far (including Vandren) out of whom 50% didn’t plan on releasing him at all and 75% are dead

Hi anon,

You are very right. Here are a number of issues with Uk’otoa’s business practices:

1. Offered the job to various drowning randoms on the spot without an interview.

2. Sets very unclear expectations (provoke? consume? how does one achieve those metrics in a meaningful way?)

3. Highly passive-aggressive - cutting off all access to benefits when employees don’t achieve quarterly goals? You didn’t even try a Performance Improvement Plan? OK snea snake.

4. Didn’t address the lingering resentment after a fling between coworkers went sour. Technically that resentment lasted only a few hours after which one of them was murdered by a pirate king, but a good manager would have intervened early on.

5. When an employee quits with minimal notice consider it a time for reflection. It’s an opportunity to understand why - it might just be them, but you might have made an environment where they don’t feel safe giving the typical notice for your industry.

6. Once an employee has left you should move on and not send a team of sea spawn and deep scions onto their ship in the dead of night to cut a fucking hole in their chest.

Okay, so do vampires drink from arteries or veins or both? Asking for a friend.

happy pride month fellow shawols

TRUTH.

Techno talking about Type, his own best friend: 

Techno talking about Tharn:

Techno making sure Type does the right thing:

TRUTH.

*if you’re not gonna treat my boy right i will*

Techno being the only valid member of the Tharn’s protection squad: 

His heart is so pure i swear. He really is THAT friend, the one we all need.

(Look at his adorable little face aww)

Tharn and Type: *have a fight*

Techno:

Also Techno in his mind: *cause you’re an idiot and that’s a fact*

Techno: *sees Tharn*

sums up pretty well how Techno sees Tharn, like an angel on earth lmao

Me when I saw James.

Finding people physically attractive, but being asexual and sex-repulsed at the same time is fucking weird because other people are like “the things I’d let them do to me 😏😏” and meanwhile I’m over here like “I jus…I j-just…wanna…H-Hug him”

I’m writing a book about two characters falling in love while dealing with there different mental health problems. As someone who has mental health problems, I want to be real about it but I’m also scared I’m moving my story too fast. Any tips on how to check if your story is going to fast

The general pacing of story typically relies on the depth of events, which is not to be confused with number of events. They are related, however. You can have:

A story with a lot of events that goes into depth of the events (longer story, slower pace)

A story with a lot of events that does not go into depth (longer story, faster pace)

A story with fewer events that goes into depth  of the events(shorter story, slower pace)

A story with fewer events that does not go into depth (shorter story, faster pace)

None of those are necessarily bad, but the kind of story and specific plot the writer has in mind can help determine which place on the + chart that the story should fall. Ideally, the pacing should actually vary per what the event is, but there will still be an overall trend. A story shouldn’t give as much attention to a pit stop as it would to the climax. 

Here’s a post on pacing individual scenes. (link embedded)

Checking for pacing can be a little tough, since a lot of the skill comes from general experience with many types of stories, which contributes to knowing how things should be and how to get them there. You ask specifically about checking for a fast pace, so here are some tips, but they are in no way a substitute for a beta reader who has fresh eyes and can give you an objective evaluation:

Look at the word count of your scenes, then look at the context of that word count. If your important scenes have similar word count to the less-important ones, your story may be too fast. Important scenes should naturally have more exploration which would slow them down.

Check to see if you’re telling, not showing, specifically for things that matter. Telling speeds stories up, and while it isn’t always a bad thing since some things need to be summarized, too much can make a story too fast. Showing helps make scenes more vivid and interesting, and naturally slows pacing because it takes up much more room.

A bit more about show, don’t tell (link embedded)

Three Signs That Mean You’re Telling, Not Showing (link embedded)

Do you have intermediate scenes between major events? Some stories don’t need them, particularity plot-focused ones, but a romance should be more character-focused and therefore should have intermediate scenes.They’re typically less-meaningful scenes than direct plot events, but can help show the depth of characters and help set up major events in the story, particularly if an occurrence needs some form of set-up to make sense and not seem like it’s overly convenient or coming out of nowhere.

Do you have subplots and actual obstacles? Subplots and other obstacles naturally slow down pacing, so a story without them is going to move along very quickly. The key to working well with subplots and obstacles is that they have to tie into the main plot and they actually have to provide struggle for the characters.They are not to be treated as “filler”.

What’s your ratio of dialogue-description-exposition? A well-balanced story is a well-paced one, and dialogue should only be about 40-60% of the story. Any more and it’s very likely that a story would be read too quickly and fail to . D-D-E should be interwoven throughout a story and each scene.

Can you picture the scene with what you write? Related to the previous point, description helps give the reader a mental image of what’s happening. Only read what you’ve written, not how you imagined the scene to play out, then evaluate if you can properly envision the setting, characters, and occurrences. Not enough description often means too fast of a pace.

Good luck with your pacing!

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