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May 20 2018


Wade [looking at Russell]: I am dad inside.

Domino: You mean dead?

Wade [pauses and thinks it over]: No, I didn’t.




every semicolon i’ve ever used has been a shot in the dark

Semicolon use is actually quite simple; semicolons separate two complete, related sentences.

cool; bro

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Moss Graffiti: A How To Guide

are you fucking for real

Imagine being the criminal who returns weekly to make sure his fucking plant art is doing alright


I found it! I fucking found it! In my fucking dash! Nothing can stop me now! *EVIL GIGGLES*


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#So badass #even his pet rhino knows whose in charge

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A 3 person suicide coffin. Apparently, it was made for a Colorado couple in the 1930s whose baby died. Grief-stricken, they had planned to commit suicide and be buried together in a single coffin. When they decided not to go through with it, the coffin went unused. It can be seen in the National Museum of Funeral History today. From here

Some guy built that thing knowing a couple was gonna kill themselves n he was like ok sure I can do a 3 bedroom coffin I got you

A job depended on death is work with job security.


tom holland? singlehandedly ended fragile masculinity. while all the other dudes were sweating uncomfortably, homeboy just straight out said he’d jump on chris hemsworth’s dick

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Ted Noten
SuperBitch Bag, 2000
(Gun Casted in Acrylic, Snake-Skin Handle)

I know it’s the year it was made and not part of the title but i want it to be “SuperBitch Bag 2000”



do you ever think about what your traits would be if you were a sim



thor: this is my new best friend, finn, and he has magical powers

finn: i’m just a jedi

thor smiling: i don’t know what that means but i love you



As a child, you often daydreamed about a world you invented and you would occasionally write about it. 10 years later, you hear many different voices whispering to you. They are the prayers of the inhabitants of your imaginary world. To them, it has been 1000 years since you abandoned them.

Tough shit, kids, God has to write a fuckin thesis.


the post-credits scene of infinity war 2 is gonna be thor going to a tattoo parlor to get that tattoo to commemorate loki he was supposed to get in ragnarök but when it’s done it says ‘loki is the best’ instead of ‘loki was the best’ (in like.. really shitty handwriting) and thor’s like “you’ve made a mistake my good sir” and the tattoo artist’s like “or did i?” and he transforms back into loki and thor’s just



when i forget a older otp but then i star to have feelings about them again 



I just want everybody to know that my son, Peter Parker, would try to lift Thor’s hammer because he’s a child and would use so much force that he just hit himself in the face because he thought he wouldn’t be able to lift it so easily

peter just knocks himself unconcious with thors hammer







I cannot emphasize enough how much you need to read thoroughly through the terms of any publication before you send your writing to them. It is mandatory that you know and understand what rights you’re giving away when you’re trying to get published.

Just the other day I was emailed by a relatively new indie journal looking for writers. They made it very clear that they did not pay writers for their work, so I figured I’d probably be passing, but I took a look at their Copyright policy out of curiosity and it was a nightmare. They wanted “non-exclusive, irrevocable, royalty-free, perpetual, worldwide license and right to use, display, reproduce, distribute, and publish the Work on the internet and on or in any medium” (that’s copy and pasted btw) and that was the first of 10 sections on their Copyright agreement page. Yikes. That’s exactly the type of publishing nightmare you don’t want to be trapped in. 

Most journals will ask for “First North American Rights” or a variation on “First Rights” which operate under the assumption that all right revert back to you and they only have the right to be the first publishers of the work. That is what you need to be looking for because you do want to retain all the rights to your work. 

You want all rights to revert back to you upon publication in case you, say, want to publish it again in the future or use it for a bookmark or post it on your blog, or anything else you might want to do with the writing you worked hard on. Any time a publisher wants more than that, be very suspicious. Anyone who wants to own your work forever and be able to do whatever they want with it without your permission is not to be trusted. Anyone who wants all that and wants you to sign away your right to ever be paid for your work is running a scam.

Protect your writing. It’s not just your intellectual property, it’s also your baby. You worked hard on it. You need to do the extra research to protect yourself so that a scammer (or even a well meaning start up) doesn’t steal you work right from under you nose and make money off of it.

Exclusive publishing rights have to have a set time frame! Do not agree to anything that doesn’t clearly state “up to five years from signature” or something like that. 

What if the publisher goes defunct? What if they get bought by another publisher who doesn’t care to promote or publish your work? You still can’t to anything with it, you don’t own it anymore!

For a thorough overview of what you should be aware of regarding your intellectual property and publishing rights, please read through this collection of post [https://kriswrites.com/business-musings/contracts-and-dealbreakers/] by Kristine Kathryn Rusch

Protect your IP. Do not give away your stories.

Every writer needs to read this before signing that contract:

Writer Beware!


@deadcatwithaflamethrower i think it might interest you (if not directly for you then it might be of interest for your followers)

This is one of the many reasons that you do not publish your work through Amazon. They contractually own your property in perpetuity, i.e. forever, if you use their publishing service. Theft, okay? Stuff like the above is legal theft. Watch your asses, loves.

(And it’s one of the reasons I’m so screamingly frustrated about not being able to devote any spoons to running Altered Nature Press, because one of its main tenants was I Don’t Own Your Work, You Own All Of Your Work Forever.)


Every single person who thinks Chikorita is forgetable is a little bitch. Chikorita grew up in a world against her, where the first two gyms were out to murder her and 6 out of 8 of the whole damn country is a gym she’s not even remotely effective against. Chikorita had to struggle to get by and if you forgot her inspiring determination to Triumph in a world meant to destroy her it’s because you didn’t have the will to help her succeed.


Imagine if Thanos snapped his fingers and he just so happened to be apart of the 50% that disappear and he’s like, “oh fuck wait”



I see a lot of writing advice, particularly about giving characters flaws. The main advice is “everyone has flaws! make sure to give your character flaws or else it’s not realistic!” And after thinking about it… I would like to challenge this.

It essentially posits a view of human nature that there are good and bad traits, and that these traits can be neatly diagrammed into separate columns, one set of which can and should be eliminated. It tends to go along with a view that posits character development should be about scrubbing away of “flawed” traits until the character achieves more a higher level of goodness, or else the character doesn’t and falls into tragedy. This is not untrue, necessarily. There are definitely some “flaws” that are 100% bad and sometimes a good arc is about slowly losing them. However, I could call this advice incomplete.

Consider thinking about it this way. Characters have traits and often whether or not that trait is a flaw is purely circumstantial.

For instance, fairy tales I read as a child. In some, when an old beggar asked for money on the road, it was a secret test of character. The prince who gave the old man money or food would be rewarded. But in other folktales I read, the old beggar would be malevolent, and any prince who stooped to help him would be beaten, punished for letting his guard down. Now, in a story as well as in real life, either of these scenarios can occur–a stranger who asks for help can be benevolent or malevolent. So which is the flaw? Is it a “flaw” to be compassionate? or is it a “flaw” to be guarded? 

Trick question–it’s purely conditional. Both traits are simultaneously a strength and a weakness. Either has an advantage, but either comes with a price as well. And whether the price is greater than the advantage depends on circumstance. The same can be said for most character traits, in fact!

An agreeable character who gets along with everyone will be pressured into agreeing with something atrocious because it’s a commonly held viewpoint. A character who’s principled and holds firm even under great pressure will take much, much longer to change their mind when they are actually in the wrong. A character who loves animals and loves to shower them with affection will get bitten if they try the same on every animal. As the circumstances change, flaws become strengths, and strengths become weaknesses. And even a trait that’s wholly virtuous, such as compassion, comes with a price and can be turned for the worst.

You don’t have to think about inserting flaws into your character. Your character, even the most perfect “Mary Sue,” is already flawed the moment you give her any traits at all. The problem with Mary Sue isn’t a lack of flaws, it’s a lack of circumstances to challenge her properly, to show her paying the natural price. Your job as an author is to create circumstances in the narrative that 1) justify why these traits exist in your character 2) show what your character gains from these traits and then 3) change the circumstances to challenge her. 

Make your character pay the price for their traits, for their choices. And then, when challenged, you can make a hell of a story by showing us how they adapt, or why they stick to their guns anyway.

i’ve been waiting for this post for 500 years

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