won’t be active on this blog anymore, starting something similar but mostly different at (x)

thank you for following and reading :)

(Source: weirdassshit)

(Reblogged from attheendofthesky)
(Reblogged from officialghosts)


The Hunger Games trilogy + first and last lines.

(Reblogged from booksandhotchocolate)



Modern Remakes Of Famous Paintings by The Booooooom + Adobe 

Ok but that Van Gogh, tho

(Reblogged from twerkingderp)


“I’m not an abstractionist. I’m not interested in the relationship of color or form or anything else. I’m interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.”—Mark Rothko 

(Reblogged from etucru)


Amazing 3D Sand Drawings Give Beach a New Dimension by Jamie Harkins

on Facebook

New Zealand artist Jamie Harkins and his fellow artist friends transform the beaches of Mount Maunganui into eye-popping works of art with their amazing 3D sand drawings.

(Reblogged from organizationxiii)

Should Secondary Characters Change?


There are some good reasons to keep secondary characters (both friend and foe) fixed in how you represent them in a story.

A lot of these kinds of characters  aren’t going to be in the story all that much and they have specific roles to play. Whether it’s to move the plot along or reveal aspects of the main character, playing a supporting role doesn’t always benefit from too much fiddling.

You also don’t want to confuse the reader with a constantly changing cast that makes it hard to remember who’s who. Nor do you want to steal focus from the main players by going off on a tangent.

But then, you also don’t want to create a roster of one-dimensional automatons who walk on to the page to deliver the same old shtick every time, like a bad sitcom.

So how do you balance the two? And do you need to?

Read More

(Reblogged from mooderino)


Broad brushstrokes, Yolanda Dorda

(Source: yolandadorda.com)

(Reblogged from fuckyeahilikechicks)
To be Black, female, gay, and out of the closet in a white environment…was considered by many Black lesbians to be simply suicidal. And if you were fool enough to do it, you’d better come on so tough that nobody messed with you.

Audre Lorde, Zami: A New Spelling of my Name, p.224 (via phdreamsanddenials)

why black queer femmes are rare breeds

why black queer women can’t be delicate and gentle

because this is still true

and it’s only made worse by white queers who want their big bad black butch daddy who will basically take care of them like they think a man would’ve if they were straight

even worse when they approach EVERY Black queer like they should become a big bad black butch daddy on a whim

(via crackerhell)

this is why Djuan Trent is my hero

(via fromonesurvivortoanother)
(Reblogged from fromonesurvivortoanother)

Digging for Writing Advice Gold


Advice, for writing and for everything else, is situational. In some cases it applies, in some it doesn’t.

When a concisely phrased suggestion fits perfectly with what you’ve been trying to work out it can be mind-blowing. Everything suddenly slots into place. You know exactly what you need to do. Not only does it seem to give you the answer to the problem at hand, it can change the way you look at the world in general.

But advice, no matter how apropos, never applies to everything. The camera never lies, love conquers all, honesty is the best policy, they all have their exceptions and so does every other piece of wisdom.

Read More

(Reblogged from mooderino)



Does it die like humans do? Does it slowly 
wither and wilt, while it’s own organs begin

to betray it? Or, is it more like a gunshot?
A quick darkening? Where does it go? 
Is there a heaven for love? Does it slip 

through some invisible drain in our chest? 

Does it, like water, just evaporate only to 
come back in a band new form? Is new 

love just old love reincarnated? What does 

it mean to fall out? Is there some trap door 
in the warehouse where all love is made 

and stored and shipped? Did ours sneak out

in the dark of night while we were sleeping? 
Is all love just a refugee fleeing from war to war? 

- Sierra DeMulder

(Reblogged from sierrademulder)


say this is what the pain made of you:
god mason, heart heavier than all the bricks.
smasher of the stopwatch timing grief.
holy cliff, avalanche of feel it all.
angel of the get through.
angel of the get through.

(Reblogged from andrewgibby)



When we are out of tears,
when our blind hands cannot
reach into the basket and

pull out more words and
we have sat in that terrible
silence—in the strange, calm

afterbirth, the remnants of
our argument as quiet and
empty as a snow angel,

debris (the way you looked
at me, the things I said)
still settling like snow around

us—our love peaks her
small head from behind
our bedroom door, tiptoes

to the foot of the mattress,
ashamed, trembling, like
a child who woke up

wet with their own piss:
our love doesn’t want
to tell us what happened—

that she was only
dreaming, that none
of this was real.

- Sierra DeMulder

(Reblogged from sierrademulder)

Getting Characters Going



It doesn’t matter what kind of character is at the centre of a story, they will all face the same fundamental issue. Something needs to be done and they have to be the one to do it.

The world needs saving, a toy needs buying, or a heart needs winning, but before you get to that, first the character has to make the determination that they are going to act rather than give up and go home.

Whether they succeed or fail depends on the story you want to tell, but whether they try is not up for debate, because otherwise you wouldn’t have a story. So you have to have a character that decides to act and keep going no matter what. But what is that makes them unable to walk away? Understanding what drives them will provide you with a core element of the character, and the driving force behind your narrative.

Read More

(Reblogged from mooderino)