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have a drink my love

@eldritchw1tch / eldritchw1tch.tumblr.com

rare, they/them, late 20s, currently overly emotional about french revolutionaries and necromantic space lesbians
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Sometime back in... June? maybe? I commissioned a fic from @shitpostingfromthebarricade and art to go with it from @thepiecesofcait through the @bishopmyrielfundraiser, and I’m finally posting it! (they are both wonderful and timely, I’m just a terrible mess re: executive function, so it took me a hot second). The fic is We'll Live to Dance Another Day (10K, e/R, rated T) and y’all, it is SO SOFT. I asked for soulmate fic or wingfic, and they gave me BOTH, and it is just... so incredibly tender and good and full of love, and I cannot recommend you go read it enough. And Cait made this absolutely GORGEOUS art which is so unbelievably soft and tender and lovely, which I have already made my icon on twitter. You should definitely shower them both with love and appreciation and kudos! Huge thanks to them both for making such wonderful content 💕

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lycanthology

wish ppl understood the power nowadays in not giving something attention. things today are so focused on attention and reaction and #memes that the best way to shut literally anything down is simply not give it exactly what it wants. like you arent going to own that bigot on twitter youre going to boost their original message whether thats your intent or not and you arent just playing with ai for shits and giggles you are giving it free learning and data. just stop engaging with things that dont deserve it

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physalian

You don’t have to pay for that fancy worldbuilding program

As mentioned in this post about writing with executive dysfunction, if one of your reasons to keep procrastinating on starting your book is not being able to afford something like World Anvil or Campfire, I’m here to tell you those programs are a luxury, not a necessity: Enter Google Suite (not sponsored but gosh I wish).

MS Office offers more processing power and more fine-tuning, but Office is expensive and only autosaves to OneDrive, and I have a perfectly healthy grudge against OneDrive for failing to sync and losing 19k words of a WIP that I never got back.

Google’s sync has never failed me, and the Google apps (at least for iPhone) aren’t nearly as buggy and clunky as Microsoft’s. So today I’m outlining the system I used for my upcoming fantasy novel with all the helpful pictures and diagrams. Maybe this won’t work for you, maybe you have something else, and that’s okay! I refuse to pay for what I can get legally for free and sometimes Google’s simplicity is to its benefit.

The biggest downside is that you have to manually input and update your data, but as someone who loves organizing and made all these willingly and for fun, I don’t mind.

So. Let’s start with Google Sheets.

The Character Cheat Sheet:

I organized it this way for several reasons:

  • I can easily see which characters belong to which factions and how many I have named and have to keep up with for each faction
  • All names are in alphabetical order so when I have to come up with a new name, I can look at my list and pick a letter or a string of sounds I haven’t used as often (and then ignore it and start 8 names with A).
  • The strikethrough feature lets me keep track of which characters I kill off (yes, I changed it, so this remains spoiler-free)
  • It’s an easy place to go instead of scrolling up and down an entire manuscript for names I’ve forgotten, with every named character, however minor their role, all in one spot
  • Also on this page are spare names I’ll see randomly in other media (commercials, movie end credits, etc) and can add easily from my phone before I forget
  • Also on this page are my summary, my elevator pitch, and important character beats I could otherwise easily mess up, it helps stay consistent
  • *I also have on here not pictured an age timeline for all my vampires so I keep track of who’s older than who and how well I’ve staggered their ages relative to important events, but it’s made in Photoshop and too much of a pain to censor and add here

On other tabs, I keep track of location names, deities, made-up vocabulary and definitions, and my chapter word count.

The Word Count Guide:

Table of chapter word counts, totals, and averages.
ALT

This is the most frustrating to update manually, especially if you don’t have separate docs for each chapter, but it really helps me stay consistent with chapter lengths and the formula for calculating the average and rising totals is super basic.

Not that all your chapters have to be uniform, but if you care about that, this little chart is a fantastic visualizer.

If you have multiple narrators, and this book does, you can also keep track of how many POVs each narrator has, and how spread out they are. I didn’t do that for this book since it’s not an ensemble team and matters less, but I did for my sci-fi WIP, pictured below.

As I was writing that one, I had “scripted” the chapters before going back and writing out all the glorious narrative, and updated the symbols from “scripted” to “finished” accordingly.

I also have a pie chart that I had to make manually on a convoluted iPhone app to color coordinate specifically the way I wanted to easily tell who narrates the most out of the cast, and who needs more representation.

Google Docs

Can’t show you much here unfortunately but I’d like to take an aside to talk about my “scene bits” docs.

It’s what it says on the tin, an entire doc all labeled with different heading styles with blurbs for each scene I want to include at some point in the book so I can hop around easily. Whether they make it into the manuscript or not, all practice is good practice and I like to keep old ideas because they might be useful in unsuspecting ways later.

Separate from that, I keep most of my deleted scenes and scene chunks for, again, possible use later in a “deleted scenes” doc, all labeled accordingly.

When I designed my alien language for the sci-fi series, I created a Word doc dictionary and my own "translation" matrix, for easy look-up or word generation whenever I needed it (do y'all want a breakdown for creating foreign languages? It's so fun).

Normally, as with my sci-fi series, I have an entire doc filled with character sheets and important details, I just… didn’t do that for this book. But the point is—you can still make those for free on any word processing software, you don’t need fancy gadgets.

I hope this helps anyone struggling! It doesn’t have to be fancy. It doesn’t have to be expensive. Everything I made here, minus the aforementioned timeline and pie chart, was done with basic excel skills and the paint bucket tool. I imagine this can be applicable to games, comics, what have you, it knows no bounds!

Now you have one less excuse to sit down and start writing.

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tearlessrain
Anonymous asked:

please help me- i used to be pretty smart but i’m having so much trouble grasping the concept of diegetic vs non-diegetic bdsm!

gfkjldghfd okay first of all I'm sorry for the confusion, if you're not finding anything on the phrase it's because I made it up and absolutely nobody but me ever uses it, but I haven't found a better way to express what I'm trying to say so I keep using it. but now you've given me an excuse to ramble on about some shit that is only relevant to me and my deeply inefficient way of talking and by god I'm going to take it.

SO. the way diegetic and non-diegetic are normally used is to talk about music and sound design in movies/tv shows. in case you aren't familiar with that concept, here's a rundown:

diegetic sound is sound that happens within the world of the movie/show and can be acknowledged by the characters, like a song playing on the stereo during a driving scene, or sung on stage in Phantom of the Opera. it's also most other sounds that happen in a movie, like the sounds of traffic in a city scene, or a thunderclap, or a marching band passing by. or one of the three stock horse sounds they use in every movie with a horse in it even though horses don't really vocalize much in real life, but that's beside the point, the horse is supposed to be actually making that noise within the movie's world and the characters can hear it whinnying.

non-diegetic sound is any sound that doesn't exist in the world of the movie/show and can't be perceived by the characters. this includes things like laugh tracks and most soundtrack music. when Duel of Fates plays in Star Wars during the lightsaber fight for dramatic effect, that's non-diegetic. it exists to the audience, but the characters don't know their fight is being backed by sick ass music and, sadly, can't hear it.

the lines can get blurry between the two, you've probably seen the film trope where the clearly non-diegetic music in the title sequence fades out to the same music, now diegetic and playing from the character's car stereo. and then there are things like Phantom of the Opera as mentioned above, where the soundtrack is also part of the plot, but Phantom of the Opera does also have segments of non-diegetic music: the Phantom probably does not have an entire orchestra and some guy with an electric guitar hiding down in his sewer just waiting for someone to break into song, but both of those show up in the songs they sing down there.

now, on to how I apply this to bdsm in fiction.

if I'm referring to diegetic bdsm what I mean is that the bdsm is acknowledged for what it is in-world. the characters themselves are roleplaying whatever scenarios their scenes involve and are operating with knowledge of real life rules/safety practices. if there's cnc depicted, it will be apparent at some point, usually right away, that both characters actually are fully consenting and it's all just a planned scene, and you'll often see on-screen negotiation and aftercare, and elements of the story may involve the kink community wherever the characters are. Love and Leashes is a great example of this, 50 Shades and Bonding are terrible examples of this, but they all feature characters that know they're doing bdsm and are intentional about it.

if I'm talking about non-diegetic bdsm, I'm referring to a story that portrays certain kinks without the direct acknowledgement that the characters are doing bdsm. this would be something like Captive Prince, or Phantom of the Opera again, or the vast majority of bodice ripper type stories where an innocent woman is kidnapped by a pirate king or something and totally doesn't want to be ravished but then it turns out he's so cool and sexy and good at ravishing that she decides she's into it and becomes his pirate consort or whatever it is that happens at the end of those books. the characters don't know they're playing out a cnc or D/s fantasy, and in-universe it's often straight up noncon or dubcon rather than cnc at all. the thing about entirely non-diegetic bdsm is that it's almost always Problematic™ in some way if you're not willing to meet the story where it's at, but as long as you're not judging it by the standards of diegetic bdsm, it's just providing the reader the same thing that a partner in a scene would: the illusion of whatever risk or taboo floats your boat, sometimes to extremes that can't be replicated in real life due to safety, practicality, physics, the law, vampires not being real, etc. it's consensual by default because it's already pretend; the characters are vehicles for the story and not actually people who can be hurt, and the reader chose to pick up the book and is aware that nothing in it is real, so it's all good.

this difference is where people tend to get hung up in the discourse, from what I've observed. which is why I started using this phrasing, because I think it's very crucial to be able to differentiate which one you're talking about if you try to have a conversation with someone about the portrayal of bdsm in media. it would also, frankly, be useful for tagging, because sometimes when you're in the mood for non-diegetic bodice ripper shit you'd call the police over in real life, it can get really annoying to read paragraphs of negotiation and check-ins that break the illusion of the scene and so on, and the opposite can be jarring too.

it's very possible to blur these together the same way Phantom of the Opera blurs its diegetic and non-diegetic music as well. this leaves you even more open to being misunderstood by people reading in bad faith, but it can also be really fun to play with. @not-poignant writes fantastic fanfic, novels, and original serials on ao3 that pull this off really well, if you're okay with some dark shit in your fiction I would highly recommend their work. some of it does get really fucking dark in places though, just like. be advised. read the tags and all that.

but yeah, spontaneous writer plug aside, that's what I mean.

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Wow I like those words ashgfkjvmgk

Would you mind if I used them?

(have been using bdsm(canonical) and bdsm(material) instead as in this narrative acknowledges bdsm as something happening in the story vs this is not bdsm in universe but it is bdsm related and just like, stuff to feed your fantasies, rules and morals do not apply because nobody is trying to portray real situations, these narratives are shallow as they are merely tools.) But I guess both the descriptions have slight differences.

oh yeah go nuts lol, it's just the best way I could come up with to phrase it, I don't own the words or anything

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artpigeons

Watsonian BDSM vs Doylist BDSM

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aropride

it's so fucking frustrating to be in college and know everyone uses chatgpt and to be tempted by it constantly while also knowing intellectually that it doesn't work and it's a bad idea. like, i hang out in the library a lot, and i see people using chatgpt on assignments almost every day. and i know it isn't a good way to learn, because it's not really "artificial intelligence" so much as it is an auto text generator. and it gives you wrong information or badly worded sentences all the time. but every week i stare down assignments i don't want to do and i think man. if only i could type this prompt into a text generator and have it done in 10 minutes flat. and i know it wouldn't work. it wouldn't synthesize information from the text the way professors want, it wouldn't know how to answer questions, it just spits out vaguely related words for a couple paragraphs. but knowing my classmates get their work done in 10 minutes flat with it while i fight every ounce of attention deficit hyperactivity disorder in my body is infuriating.

i think one thing that's been really helpful in keeping myself from using it is thinking about Why i have to do the specific assignments i have. like what is the actual goal. like some assignments the goal isn't "share a story about parenting styles in ur personal life" so much as it is "show you understand the concept of parenting styles thru a story". or it's not "how do hormones impact teenagers' decision making abilities" it's "can you understand, reword, synthesize, and explain the information in the text and videos to explain how hormones impact teenagers' decision making abilities". and looking at it as "this assignment is asking me to read some words and then understand and explain them, which is a skill i want to have" rather than "i have to answer these stupid questions that seem really obvious because all my professors want me to die forever" has helped. especially in a world where everyone uses chatgpt i want to know how to read with my own brain

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is there anyone out there with a nyt cooking subscription

will they send me the chamomile tea cake with strawberry icing recipe

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alexseanchai
This buttery, chamomile tea-scented loaf is a sweet pop symphony, the Abba of cakes. A pot of flowery, just-brewed chamomile isn’t required for drinking with slices of this tender loaf but is strongly recommended. In life and in food, you always need balance: A sip or two of the grassy, herbal tea between bites of this cake counters the sweetness, as do freeze-dried strawberries, which lend tartness and a naturally pink hue to the lemony glaze. This everyday loaf will keep on the counter for 3 to 4 days; be sure the cut side is always well wrapped.
Ingredients Yield: One 9-inch loaf ½ cup/115 grams unsalted butter 2 tablespoons/6 grams chamomile tea (from 4 to 6 tea bags), crushed fine if coarse 1 cup/240 milliliters whole milk Nonstick cooking spray 1 cup/200 grams granulated sugar ½ teaspoon coarse kosher salt 2 large eggs 1 large lemon 2 teaspoons baking powder 1 teaspoon pure vanilla extract 1½ cups/192 grams all-purpose flour 1 cup/124 grams confectioners’ sugar ½ cup/8 grams freeze-dried strawberries
Preparation Step 1 In a small saucepan, melt the butter over medium heat. Add 1 tablespoon chamomile to a large mixing bowl. Pour the hot melted butter over the chamomile and stir. Set aside to steep and cool completely, about 1 hour. Step 2 Use the same saucepan (without washing it out) to bring the milk to a simmer over medium-high heat, keeping watch so it doesn’t boil over. Remove from the heat, and stir the remaining 1 tablespoon chamomile into the hot milk. Set aside to steep and cool completely, about 1 hour. Step 3 Heat oven to 350 degrees. Grease a 9-by-5-inch loaf pan with the nonstick cooking spray and line with parchment paper so the long sides of the pan have a couple of inches of overhang to make lifting the finished cake out easier. Step 4 Add the sugar and salt to the bowl with the butter, and whisk until smooth and thick, about 1 minute. Add the eggs, 1 at a time, vigorously whisking to combine after each addition. Zest the lemon into the bowl; add the baking powder and vanilla, and whisk until incorporated. Add the flour and stream in the milk mixture while whisking continuously until no streaks of flour remain. Step 5 Transfer the batter to the prepared pan and bake until a skewer or cake tester inserted in the center comes out clean (a few crumbs are OK, but you should see no wet batter), 40 to 45 minutes. Cool in the pan on a rack for 30 minutes. Step 6 While the cake cools, make the icing: Into a medium bowl, squeeze 2 tablespoons juice from the zested lemon, then add the confectioners’ sugar. Place the dehydrated strawberries in a fine-mesh sieve set over the bowl and, using your fingers, crush the brittle berries and press the red-pink powder through the sieve and into the sugar. (The more you do this, the redder your icing will be.) Whisk until smooth. Step 7 If needed, run a knife along the edges of the cake to release it from the pan. Holding the 2 sides of overhanging parchment, lift the cake out and place it on a plate, cake stand or cutting board. Discard the parchment. Pour the icing over the cake, using a spoon to push the icing to the edges of the cake to encourage the icing to drip down the sides dramatically. Cool the cake completely and let the icing set.

We out here torrenting recipes now? Reblog

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mayasaura
Anonymous asked:

one problem with a theatrical adaption of tlt is htn, where the reveal that Gideon lives on works because of the change of second person to first.

the only way i can think of it working is that the actor playing gideon works backstage, like the lights system (but is hidden from the audience aside from subtle hints)

the biggest hint is when when wake breaches pal's river bubble she 'breaks' the lighting system and the stage goes dark. harrow is ushered into the wings by pal so she doesn't see anything, but the lights flick back on just before the curtains drop for a scene change, and pal looks directly up at the light box in surprise and smiles. if the audience is quick to turn around they can see a flash of a black robe.

Oh boy my friend, have you come to the right place!!

So, fun fact about ninja. Bear with me, I am going somewhere with this. The image of a ninja covered head to toe in black, with a hood and mask, comes from Kabuki theatre. It was originally a stagehand uniform. Like stagehands in modern theatre, stagehands in Kabuki would wear all black to signify that they were not really there, and whatever effect they were causing (carrying a prop, creating a breeze, ect.) was to be taken as happening on its own. Basic stagehand stuff, a lot of productions in many styles around the world do it, especially if they don't have fancy rigging systems.

Someone (I don't remember who now, or in what play) had the idea to dress the ninja in a production up as a stagehand. In the convention of the theatre, this made them invisible. The audience was already so used to ignoring stagehands, they didn't know any more than the characters that the ninja was present, despite the actor being clearly visible on stage. Which meant when the ninja struck, it was as if out of nowhere. I can only imagine the uproar in the theatre the first time it happened. It worked so well as to become commonplace, and the rest is history. The popular image of a ninja is still a kabuki stagehand.

So, back to the stage play of Harrow the Ninth. I think you've hit almost exactly on how to incorporate the Gideon twist into a theatrical production. But not as a lighting tech. Gideon is a stage hand. Maybe there would be more than one stagehand, maybe she would be the only one, but she would operate in full view of the audience, literally setting the scenes. I think it works best if she's the only one, but if the production needs more, she should subtly stand out in some way. As the play went on, we would notice that this one stage hand... increasingly interacts with Harrow, though Harrow never acknowledges it. At first it might look like she's playing Harrow's necromancy, because that would be the main special effect she would need to help with. When Harrow is unconscious at the end of a scene, it's always the same stagehand carrying her out. But we all know she's not really there. Until Palamedes acknowledges her. Turns to look right at her, and speaks to her. I can see the scene clearly. He would look at her, stunned, until Gideon finally took off her mask. The line "Kill us twice, shame on God," would be addressed to Gideon, and then he would turn back to Harrow, kiss her on the forehead, and tell her to go. Gideon, always out of Harrow's line of sight, would guide Harrow away while Harrow looked back at Palamedes.

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The lighting in this scene would be important. It would be lit by a stationary spot on Palamedes' bubble room, with the stage empty and black on all sides around. This has the benefit of invoking an atmosphere of isolation and intimacy in the scene, and makes it particularly jarring when a stagehand literally steps into the spotlight.

When Gideon and Harrow move away, the spot travels with them so that Palamedes and the room are no longer visible when the gunshot goes off, and the spotlight cuts out with it.

The light source in the room would ostensibly be a single black standing lamp, which would be worked into the set and lighting of every scene set in the River. There's a tradition in theatre of keeping an empty stage lit by a single light when not in use, usually a standing lamp. This lamp is called the ghost light.

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She had been hospitalised because an official said they wanted to take [Palamedes'] bones away and said that they would not serve in a cell where a necromancer`s minion was allowed to carry " wizard bones'' around. I was there when they tried to forcibly take the bones away and they were forced to shock her.

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I keep seeing people online say that any job offering unlimited PTO is a "scam", because it's reverse psychology and you'll actually take less than normal, or that the manager still has to approve it and won't actually allow more than a few weeks.

I'm sure this can happen, but it's not at all a given! My husband's job offers unlimited PTO and he takes a cumulative average of 6-8 weeks off every year. Management is totally cool with it because he's a good worker who gets his projects done on time, and he's considerate by not taking off during the few weeks of the year that his team crunches for deadlines.

Don't scare people into avoiding jobs that offer good benefits in case they might not pay out. Instead, teach them to ask the right questions during interviews so they can gauge accessibility:

  • What are common reasons a PTO request may be denied? What's the criteria to be approved?
  • What's the average amount of time your teammates take off every year? (This will tell you how realistically you will get to take off)
  • How often do you (the interviewer) take advantage of the PTO policy?
  • Are there any exceptions to the "unlimited" policy, such as certain weeks of the business year, or length of consecutive PTO days taken at once?
  • How long does a new employee have to work for the company before the unlimited PTO policy kicks in for them?

Remember, you're allowed to ask questions during interviews! Use it to your advantage. And don't avoid jobs just because someone told you the benefits are too good to be true.

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Think about Harrow's AU Bubbles

Thinking about Harrow's AU bubbles, not as fanfic references, but as expressions of her subconscious fears and desires, is so fascinating.

The Harrow Nova one is pretty obvious. Harrow's parents were obsessed with her being a necromancer, were willing to kill for it. It's only natural she'd wonder, "What if I hadn't been?"

And the answer Harrow gives herself is: Your parents and everyone would reject you (except, wildly, for Crux). Also they'd be alive cuz you'd never opened the tomb, and you'd be an unpopular orphan they'd abuse (Just Like Gideon). And you'd still be just as devoted to serving the Ninth with a blade. There's a lot there. But the other really telling bit is her relationship with Gideon. Harrow Nova professes to hate the reverend daughter even as she seeks to (re) create the necro-cav bond with her. But that hatred doesn't seem to be mutual. And the bit about the daughter intervening when Harrow was whipped…

That's Harrow's subconscious saying if their roles had been reversed, "Gideon would have treated me better than I treated her. Gideon would have protected me."

The Ball AU also seems like a reasonable extension of Gideon's childhood query: "What if my other parent is the most important guy in the universe?" Answer: Emperor Dad would throw a big party.

But also… it's a bride-finding ball! That's so very telling. It could have been anything, but Harrow invents another scenario where she's fighting, competing to get to Gideon, to be awarded the role of her sworn partner (first cav, now bride), while outwardly claiming not to want it.

Now The BARI Star AU often gets described as a "coffee shop" one, but it's actually set in a cohort cafeteria. And normally I wouldn't split hairs over that, but I think the cohort setting is actually really significant. The Cohort was Gideon's dream, and also Harrow's rival for Gideon's attention. It's what she kept trying to leave Harrow for.

So now Harrow dreams that she's left Drearburh to join the cohort and will meet Gideon there. Not fight or compete for a role where they're bound to each other, but just meet her there. That feels like yielding. Like compromise. It makes me think Harrow's subconscious has matured past trying to keep Gideon with her always and is instead looking for ways that SHE can be with Gideon. Meet Gideon where she is.

(Also this may be a stretch, but I always find it low-key funny that Harrow imagines Gideon in the cafeteria… I like to think her brain is skimming lists of hypothetical military jobs like... what sees the least action... ah, coffee-adept, she'll be perfectly safe there...)

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