hey everyone! i'm reverie, 20, she/they. your friendly neighbourhood poet and chaotic poster on life. i'm indian, but i currently study in the netherlands for my undergraduate studies.

i used to be on tumblr ages ago but deleted it and i've decided to come backs since then. stick around for sexy shit

original works under the tag #original post

writeblr (re-)intro

first posted 2023-02-11

Hello there! I write gay Lovecraftian urban fantasy and SFF/H fiction. This URL @btranwrites used to be my main, but is now a sideblog where I post my original writing and writeblr things; my main is now @btranscrolls (cos you know, real writers don't write) (jk send help). Most original longer posts on this blog are reposted from my website btranwrites.com.

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You know. Reading is important. Because I'm like always trying to make every line I write this groundbreaking mindfucking art but like. A book is 90% just saying what happened. "I hugged him around the waist." "The chair was brown and overstuffed." "I woke up alone." Etc etc. Like normal ass lines. I just keep comparing my boring, necessary to set a scene lines, with famous authors' absolute best lines and like.... every line doesn't have to shatter the earth. Sometimes someone just sits in a chair and the lines that wreck you come later, one at a time, here and there. It's alright.

This is super common and I wish we were taught when we begin to write that those quoted lines are also in a sea of the same sort of setup we obsess over not being 'good enough'. I saw multiple people drop out of writing courses over this in college. Sure, sometimes you need a better way to describe something prevalent or to pinpoint an emotion, but if EVERYTHING was written in that sort of tone for a whole book it would prove utterly exhausting to read.

Also, if every single line in the book was hard-hitting and mindblowing, then it wouldn't be memorable because it would be drowned out.

The best lines are famous because they stand out.

The real writer experience is standing in the shower and coming up with the most authentic dialogue with perfect phrasing and raw emotion in your head, then stepping out and drying your hair, putting on some clean pajamas and opening a word document to write down all your perfect ideas only to realize everything has evaporated. 

I FEEL CALLED OUT

The Sword and the Stone - Jeffrey Alan Love

movie theatres are like if platos cave slayed

— Mahmoud Darwish, Another Road in the Road

House in rural Russia

in other lands, by sarah rees brennan // starchild, by ghost quartet // greater boston, episode 23: on the advice of mary wollstonecraft // gunslinger (a ballad for adult westerns), by katie lee // doctor who, s04e13: journey’s end // buffy the vampire slayer, s01e11: out of mind, out of sight // the empathy exams, by leslie jamison

journal of my other self, rainer maria rilke / zarina situmorang / my brother my wound, natalie diaz / beekeeping, sara eliza johnson / the lights v, truls espedal / bluets, maggie nelson / the apparition, james tissot / crush, richard siken / the song of achilles, madeline miller

The best character development is when the antagonist doesn't even really change or redeem himself. Like no, he still sucks, he's just on our side now.

fantastic post op. may i add when a previous antagonist has the same personality traits as before but framed as good things now that theyre on your side? "cold and calculating" becomes "unflichingly practical" when you need someone to push the big red button, "hair-trigger temper" is now "takes no shit", and no one is more dependable for chasing the big bad to the ends of the earth than that spiteful, unforgiving bastard who was hunting you down last season

Vita Sackville-West, from a letter to Virginia Woolf (January 21, 1926)

Blud, Rachel McKibbens

Mary Oliver ― Fall