Bisexuals are living the dream rn
417 notes
·
View notes
Chiharu Shiota: Conversations Between Others (2023)
7K notes
·
View notes
Donna Tartt, from The Goldfinch (2013)
2K notes
·
View notes
“start here” by caitlyn siehl (insp)
653 notes
·
View notes
Phyllis Shafer, Magical Moment at Fallen Leaf Lake, gouache on paper, 17.5 x 22.5 inches.
26K notes
·
View notes
Evening walks must be the best part of spring
6K notes
·
View notes
"rpf seems like a lot of research and work" well exactly. you can't just watch/read the whole content. you have to be insane. you have to put yourself in the shoes of a conspiracy theorist and a historian at the same time. you have to look up the most asinine bullshit. it's a hard job but SOMEONE has to do it for the sake of old man yaoi and old woman yuri!
1K notes
·
View notes
All the Beauty and the Bloodshed (Laura Poitras, 2022)
425 notes
·
View notes
Expanding a thought from a conversation this morning:
In general, I think "Is X out-of-character?" is not a terribly useful question for a writer. It shuts down possibility, and interesting directions you could take a character.
A better question, I believe, is "What would it take for Character to do X?" What extremity would she find herself in, where X starts to look like a good idea? What loyalties or fears leave him with X as his only option? THAT'S where a potentially interesting story lies.
In practice, I find that you can often justify much more from a character than you initially dreamed you could: some of my best stories come from "What might drive Character to do [thing he would never do]?" As long as you make it clear to the reader what the hell pushed your character to this point, you've got the seed of a compelling story on your hands.
50K notes
·
View notes