Fun & Games

Jump in give it a go, try new things, challenge yourself! Life is meant to be enjoyed!

Remember its all just 'Fun & Games.'
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teenwolf:

I actually had to count his fingers tbh 

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jellysnack:

Australian cast of The Lion King sings on a plane.  Because actors are nerds no matter where they are.

Are tears what you wanted because that was fucking beautiful.

how are people just.. sat there

;lkj;sllllllldffffffffffggggggggggggggghhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh *gross sobbing*

*ugly crying*

this is some spiritual shit oh my god

(via fannishthings)

Writing Advice: by Chuck Palahniuk

In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.

From this point forward—at least for the next half year—you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.

The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.

Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”

Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”

Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.

Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’s roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her butt. And the next break, Gwen would be leaned there, again.”

In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.

Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.

For example:
“Brenda knew she’d never make the deadline. was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”

Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.

If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.

Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.

Don’t tell your reader: “Lisa hated Tom.”

Instead, make your case like a lawyer in court, detail by detail.

Present each piece of evidence. For example: “During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”

One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.

For example: Waiting for the bus, Mark started to worry about how long the trip would take…”

A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”

A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.

Oh, and you can just forget about using the verbs forget and remember.

No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”

Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”

Again, Un-pack. Don’t take short-cuts.

Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and words show their thoughts. You—stay out of their heads.

And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”

For example:
“Ann’s eyes are blue.”

“Ann has blue eyes.”

Versus:

“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”

Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.

And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”

Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.

(…)

For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.

Then, pick through some published fiction and do the same thing. Be ruthless.

“Marty imagined fish, jumping in the moonlight…”

“Nancy recalled the way the wine tasted…”

“Larry knew he was a dead man…”

Find them. After that, find a way to re-write them. Make them stronger.

(via 1000wordseveryday)

So, this is an awesome exercise that really will make you a better writer.  Challenging yourself to become more aware of these words is a great idea.  Palahniuk is right that we often resort to them unthinkingly as shortcuts, and it often weakens our writing.

If you try to use it all the time in your actual writing, however, your readers are likely to want to hit you over the head.  There’s a time and a place for everything, and sometimes, “She loved this wine” really is the right way to go.

I just wanted to bring this up, because it’s a fantastic example of how easy it is for useful writing advice to tip over into terrible writing advice.  Chuck challenges you to do this exclusively for six months, because you don’t need to do it all the time forever always.  The point is to break out of the habit of resorting to these words unthinkingly, not to never use them again.

Along these same lines, another great set of words to do this for is the ‘to be’ set of verbs: is, are, was, were, has been, will be, become.  When I’m doing my editing passes, I typically include one that focuses specifically on these, because I find that removing the majority of them does all kinds of great things, including cutting out passive tense you didn’t want, eliminating repetitive sentence structures, and pushing me to replace them with more lively sentences that engage the character more with the scene and sensory detail.

(via prettyarbitrary)

(via sinsensory)

karenhealey:

INTERNETS OMG

"FEELS" HAS BEEN A LEGIT TERM SINCE AT LEAST 1782:

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The Duchess, by Amanda Foreman.

Georgiana, Duchess of Devonshire, really wrote a real letter to her mother complaining about the feels in 1782.

I love everything.

(via kedreeva)

outwalkingthedead:

behind the scenes

teenwolf:

I actually had to count his fingers tbh 

using nothing more than newton’s laws of gravitation, we astronomers can confidently predict that several billion years from now our home galaxy, the milky way, will merge with our neighbouring galaxy, andromeda. because the distances between the stars are so great compared to their sizes, few if any stars in either galaxy will actually collide.
any life on the worlds of that far off future should be safe, but they will be treated to an amazing billion-year-long lightshow.
a dance of a half a trillion stars, to music first heard on one little world, by a man who had but one true friend.

(via jerakeenc)

fluffygremlin:

So today is The Day!  The season finale of season 4 3B of Teen Wolf.  To celebrate I’m posting today’s drink a bit early along with a masterpost for anyone who is of an age and mindset to imbibe this evening.  

Today’s drink is…

The Golden Move

1 shot spiced rum

2 shots amaretto

Shake over ice and top off with Ginger Ale.

This is similar to the first drink I posted, The Stilinski, although it is sweeter and without the lingering darkness.

And now… BOOZE MASTERPOST!

The Stilinskiimage

1 shot Crown Royal Black
1/2 shot Butterscotch Schnapps
Fill with Ginger Ale
And for that added darkness settlling into his soul, sink some Kahlua to the bottom

Wolfsbane

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.5 oz blue curacao
1 oz Kinky brand liquor
3 oz 100 proof vodka
lemon-lime soda

This is a simple shake over ice and top off with mixer.

The Darkness

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1 shot Crown Royal Black
2 shots Kahlua
dash of chocolate sauce

shake over ice and enjoy!

Glow Punch

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1 shot vodka
1 shot blue curacao
1 shot melon liqueur
3 shots orange juice

Shake over ice and top with ginger ale.

The Open Door

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1 shot Absinthe shaken over ice
Topped with Sprite

The Screaming Banshee

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1 1/2 shots RumChata
1 shot Cherry Vodka
1/2 shot Grenadine
Shake over ice and knock her back

Field Fox

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1 shot Sour Apple Pucker
1 shot Spiced Rum
1 shot Blackberry Whiskey
3 shots Cranberry Juice (use 100% juice if possible)
Combine and shake over ice!

Beta Blue-tini

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2 shots vodka
1 shot blue curacao
dash of peppermint schnapps

The Void

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2 shots cherry vodka
1 shot vanilla vodka
1/2 shot simple syrup
Shake over ice and give yourself into the nothingness.

The Little Death

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1 ounce vodka
1 ounce tequila
1 ounce rum
1 ounce gin
1 ounce blue curacao
2 ounces sweet & sour
lemon lime soda

Shake booze and mix over ice then top off glass with soda.

Let me know if any of you try the drinks.  Enjoy!!!

(via fannishthings)

elmoramos:

MALEFICENT

elmoramos:

MALEFICENT

(via devildoll)