Larrybell - Where Is My Thunderstorm?

Coleridge x Wordsworth

WHY DO PEOPLE NOT SHIP WORDSWORTH AND COLERIDGE.

- met and instantly connected

- fucking followed each other across the country for years. First coleridge moved to be with Wordsworth, then Wordsworth to coleridge. One of them got kicked out of town (because drama) and the other followed and like, come on. Just cuz your bff has to move like an hour away you don’t pack up your life and follow them. 

- Dorothy wrote about how they met literally everyday and talked about poetry and philosophy and COMPLETED EACH OTHER’S WORKS because they were that in sync

- they made a book of poetry together. personal and professionally compatible. Lyrical ballads, the iconic collab.

- the authorities actually got involved because neighbours were super suspicious they were political radicals plotting something and, no, not at the moment, but you know valid concern with these guys. If rainbow rowell has taught me anything it’s that “plotting” really means “gay” and given the time calling the authorities on the super domestic and romantic guys next door really isn’t that far off

- and like “This Lime-Tree Bower My Prison”?? I know Coleridge directly refers to Charles Lamb but like. If you were pining and trying not to broadcast your sexuality to the world including your wife wouldn’t you be a little subversive? He’s just whining lovingly about not being able to go for a walk together and how Nature will bring them together in spirit and if that’s not the sweetest, tragically gay thing ever. 

- their relationship really fell apart once Wordsworth finally got married and he got fed up with Coleridge’s opium addiction and constant womanizing

- they lived the rest of their lives very publicly hating their wives and not really speaking

- I just gotta add Wordsworth and Dorothy? THE BEST SIBLINGS EVER. 

(this has been the most distracting thing ever while trying to study them for my romantic lit final pls tell me I’m not the only one)

Yasha: Oh, your unicorns are real?

Jester: Of course they’re real. You guy think I’ve been talking about fake shit this whole time?

Rest of the M9 who didn’t believe in the Traveler until they saw him:

Tiefling horns that grow according to their class send tweet.

I did this at midnight excuse how dark it is I’m just EXCITED

This is the first time I’ve ever been able to wear the jacket since I started it in 2018 I’m fully crying over here 😭

Doing online classes really just be like *has a list of assignments* *have no motivation what so ever* *watch random youtube videos* *stresses* *looks at assignment list again* *stresses more* *eat a snack* *sudden burst of productivity that last only about five minutes* *rewards self by checking phone* *stresses*

But did they really brake the wheel?

by  Andrius Matijosius

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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