Zemo: Pop

This.

NSFW ban fail

Reblog if you’re still seeing porn bots despite the NSFW ban. I’m still seeing them. Plenty of legitimate followers seem to be blocked from my feed, however.

by Lazette Gifford

Description of main characters in first draft stories often fall into two wide categories — far too little or way too much.  Writers see their characters and they want their readers to see them, too.  However, sometimes they can go too far in description, especially in the main character.

What?  Don’t you want the reader to see the main character just as he or she is?  Yes, you do.  However, you need to consider two things about readers.  First, they have vivid imaginations and can ‘see’ characters without every detail drawn in.  Second — and the more important of the two — the reader wants to connect with the main character in some way.  This may mean that she wants to see the character as herself or she may want to imagine the character as a favorite star.  If you give too much description, you erase that connection.

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As for the lately siblings typing and them being Fe-dom really reminds me of why I always feel high Fe users (especially Fe-dom ones) are rather... hard-to-like. The thing about how they are extremely vocal about their dislike is actually correct and common for high Fe users I have ever met in my life...

You understand why, though, right? Fe needs and wants to address what upsets it and processes their feelings while they talk, so they do so in order to work through it, resolve it, and clear the air. They don't understand emotional repression or silence and want others to respond in kind. Most EFJs who do not study typology can't understand why other people are not more open with their emotions, both good and bad. They need and want "signals" that come from other people and their emotional reactions, in order to know where they stand with people and how to adjust their behavior to fit the situation. Their entire life is about molding themselves to fit social, emotional, and relational cues. It's as normal for them to say "you hurt my feelings" as it is for them to exclaim in rapturous delight "I love being here with you!!!" Their emotional reaction to everything is immediate -- and they are sensitive, not only to insults against themselves or slights, but other people having an impact on those around them. (You hurt my daughter/girlfriend/boyfriend/friend, you are Enemy Number 1.)

As a Fi user and a 9 who avoids conflict, I understand that they can seem "intense" and "loud" and "confrontational," but you can't change them or expect them to be different than they are. It's as unnatural for them to repress their emotions and not be direct with them, as it would be for you to talk your way through your feelings "in real time" and be combative while doing it. All you can do is try to understand them, and focus on your own growth as a 9 -- learning that not all confrontation is bad, that not all raised voices are full of rage, that it's okay for other people to engage in conflict (it's not about me), and that you are likely "over-sensitive" to them due to being a 9.

I guarantee if you find some EFJ 9s and give them a chance, you will find out that not all of them are direct. One EFJ 9 I know is super sweet, tolerant, open-minded, easy-going, and never raises her voice.

“Aw shit, I am a woman, friendless, hopeless!”

Henry VIII,  Act 3, Scene 1  

Shakespeare, but every instance of “alas” has been replaced with “aw shit”

 “Aw shit, poor Yorick!”

-Hamlet, Act 5 Scene 1

“Aw shit, that love, so gentle in his view,

Should be so tyrannous and rough in proof!“

-Romeo & Juliet, Act 1 Scene 1

“O, no! Aw shit, I rather hate myself

For hateful deeds committed by myself.”

-Richard III, Act 5 Scene 3

“Aw shit, poor country, almost afraid to know itself! It cannot be called our mother, but our grave.”

Macbeth, Act 4 Scene 3

Lol 😂

What's the difference between asking for advice (Bird) and asking for help (Badger)? I see them as kind of the same, especially since a lot of my problems (medical stuff, writing, etc) aren't ones people can really directly help with. I usually ask for help/advice and then handle the actual task myself. If someone does offer to directly help, it's an unexpected bonus, like my friend offering to help get something from IKEA. I was just asking if she thought it would fit in my car.

There's some overlap, but it sounds like you're more on the Bird end of that Venn diagram.

"Do you think this would fit in my car?" -> asking for advice

"Will you come with me in your pickup?" -> asking for help

It's possible that you don't usually think of ways people can help you directly, because that's not how you usually do things! I can think of ways people might directly help with the writing process, for example (beta readers being the most common example of your friends/peers giving hands-on help), but there's actually a book I wanna dig up and quote for this so bear with me.

From Elizabeth Gilbert's Big Magic: Creative Living Beyond Fear

I’m friends with Brené Brown, the author of Daring Greatly and other works on human vulnerability. Brené writes wonderful books, but they don’t come easily for her. She sweats and struggles and suffers throughout the writing process, and always has. But recently, I introduced Brené to this idea that creativity is for tricksters, not for martyrs. It was an idea she’d never heard before. (As Brené explains: “Hey, I come from a background in academia, which is deeply entrenched in martyrdom. As in: ‘You must labor and suffer for years in solitude to produce work that only four people will ever read.’”)

But when Brené latched on to this idea of tricksterdom, she took a closer look at her own work habits and realized she’d been creating from far too dark and heavy a place within herself. She had already written several successful books, but all of them had been like a medieval road of trials for her—nothing but fear and anguish throughout the entire writing process. She’d never questioned any of this anguish, because she’d assumed it was all perfectly normal. After all, serious artists can only prove their merit through serious pain. Like so many creators before her, she had come to trust in that pain above all.

But when she tuned in to the possibility of writing from a place of trickster energy, she had a breakthrough. She realized that the act of writing itself was indeed genuinely difficult for her . . . but that storytelling was not. Brené is a captivating storyteller, and she loves public speaking. She’s a fourth-generation Texan who can string a tale like nobody’s business. She knew that when she spoke her ideas aloud, they flowed like a river. But when she tried to write those ideas down, they cramped up on her.

Then she figured out how to trick the process.

For her last book, Brené tried something new—a super-cunning trickster move of the highest order. She enlisted two trusted colleagues to join her at a beach house in Galveston to help her finish her book, which was under serious deadline.

She asked them to sit there on the couch and take detailed notes while she told them stories about the subject of her book. After each story, she would grab their notes, run into the other room, shut the door, and write down exactly what she had just told them, while they waited patiently in the living room. Thus, Brené was able to capture the natural tone of her own speaking voice on the page—much the way the poet Ruth Stone figured out how to capture poems as they moved through her. Then Brené would dash back into the living room and read aloud what she had just written. Her colleagues would help her to tease out the narrative even further, by asking her to explain herself with new anecdotes and stories, as again they took notes. And again Brené would grab those notes and go transcribe the stories.

Isn't that the most Badger secondary workflow you've ever heard? 😂

Reblog if you have read fan fiction better than some published books

Help me prove a point

to 134 more years of the never-ending cycle of first meetings and comfortable domesticity

to holmes and watson, in all their forms

Hey, I'm writing a fight scene at a fancy restaurant. If my character had a choice of weapon between grabbing a fork or a butter knife (rounded point), which should they choose?

The fork.

It has pointy ends and it’s better for stabbing.

However, in a fight scene at a restaurant, it’s worth remembering all the other available pieces that will allow a character to smoothly transition between weapons. Most of the time, thought stops at the cutlery but a restaurant is full of makeshift weapons that will aid the characters in their fight if they’re clever enough to see them.

Plates.

Heavy duty, ceramic plates are good for bashing, throwing if necessary. It’s usually a stage gag, but it works really well.

Wine. Water. Coffee.

Hot soup also works. Grab it off the table, throw it in their eyes to blind them to create opportunity for an attack.

Wine Bottles

If left at the table, the solid glass of the wine bottle can be useful for hitting. It’s not as heavy duty as a Jack Daniel’s bottle, but it’ll get the job done. This is even more true if the wine bottle has not yet been uncorked and is still full. Then, it functions as a makeshift club holding up against a great deal more abuse than an empty wine bottle which will break apart in your hands.

Chairs.

When dealing with multiple opponents, but if they’re light enough to be picked up and wielded then the chair’s legs can be used to deflect attackers and maintain distance while backing toward an exit.

If they are sitting at the table, a good basic combination would be:

-grab wine glass, throw wine into attackers face

-grab hold of their wrist, take fork, stab hand

-pick up plate, smash plate into face

-if it survives then possibly edge into throat or sharpened edge of now broken ceramic.

-exit hastily if enemy is no longer capable of fighting to avoid confrontation with local law enforcement.

Restaurants really are full of weapons, plenty of weapons, including many objects that the average person won’t regard as a weapon. You just have to sit down, adjust your perspective, think about it, and start getting creative.

This is all just in the main dining area, long before we move to even better areas like the food preparation and the kitchen. Remember, a lit cigarette can be a weapon. It’s all about how you think and how rough you’re willing to get.

The Ambush vs. The Preparation

Another thing to consider is whether or not this scene is planned out in advance by the characters rather than it being spur of the moment (such as them being ambushed or suddenly decide to attack). A character who is preparing to make their move can set themselves up with better options than a character who has to hit the “go!” button.

They can:

If there is a bar, they might order hot alcohol like a hot tottie which is a hot mixture of water, lemon juice, whiskey, and honey. The alcohol will burn when thrown into the face, the honey (or any kind of sugar) will ensure it sticks thus prolonging the burning. This is surprising thick for a beverage. Excellent for creating openings or tying up one attacker while moving in on their friend. (This is not an approach for kindly characters.)

Order any kind of red meat or food type that will ensure they have a steak knife. They may have come without weapons or been forced to leave their weapons at the door, but they can have some of them back with clever dinner pick.

-Michi

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