Kami McArthur

randomweas:

Dragon Ball Heroes - Gotenks adulto

Here’s a Cactus

blueyed-fancyhairedguy:

I would like to talk about something that is a huge problem In the world these days. Insulting people on the internet, see it wasn’t every funny and your not cool for doing it and there’s really no point to it at all! The result is teenager’s killing them selves, sure we could go on and on about..

My follower asked me to reblog this because it’s pretty important to him. I hesitated because the title had the f-word, and I’m not really into f-words, but the message had a good point, so here it is. I hope you don’t mind I revamped the title.

I have to agree that insulting anyone is kind of a problem, and that we need to avoid cyber-bullying.

wolverhamperton:

daves-applejuice:

sextuhsy:

Coral blue number 2 semi-gloss lipstick






Coming all the way from the capitol! 

wolverhamperton:

daves-applejuice:

sextuhsy:

Coral blue number 2 semi-gloss lipstick

Coming all the way from the capitol! 

Your Writing Eye



If you want to be great at writing, you have to do more than just write. You have to develop an “eye” for it. If you aren’t developing an eye for it, you’re not progressing very far. You can’t become a better storyteller if you can’t see how to. Right?

Your writing eye should always be ahead of your writing abilities. Read that sentence again: Your writing eye should always be ahead of your writing abilities. Why? Because that’s how you learn and grow as a writer! If your eye is always ahead of your abilities, you always have something to strive for. If it’s not, you can’t improve your storytelling abilities.

Whether you’re a beginning writer or a seasoned one, there is always more to learn.

Here are three ways to strengthen your eye for writing.


  1. Read books, blogs, or listen to podcasts on writing from professionals.
  2. Read and watch fiction, not just as an audience member, but as a writer. Pull the story apart and see how its parts are working together. Look at how the writer created the story.
  3. Get personal guidance and direction on your writing. Have a professional, a writing instructor, or a peer critique your work. Let them tell you what you can improve on.
Often, when I’m learning about writing from a book or sometimes a professional, I find myself disagreeing with what they say. That’s okay. It still broadens my mind. And you know what? It might take months but I almost alwayscome around to agreeing with them eventually. I just didn’t fully understand them or didn’t have enough experience to get it the first time. So if you disagree with some writing advice, don’t worry, just listen and keep going. It will help you form your own opinion.

It’s likely you’ll go through periods where your writing eye is way ahead of your abilities. That’s where I am right now. I understand and “see” certain aspects of storytelling, but I’m not experienced enough to be able to execute them as well. Don’t get discouraged. Keep trying and eventually you’ll get there. Like right now, for me, I’m just starting to develop an eye for action scenes. Before, I didn’t have a clue what made a good action scene and what made a bad one. Now, it’s starting to click with me. But I can’t yet write what I’m beginning to understand.

Patience is often a cure for frustration.
Couple of guys just chillin, plotting evil.

If someone walks behind Sauron, he can tilt his head and stab them. Who of us can do such things?

Couple of guys just chillin, plotting evil.

If someone walks behind Sauron, he can tilt his head and stab them. Who of us can do such things?

So, I was wondering about something regarding first-rights access a lot of publishing places ask for: Does this also mean the world the story takes place in? Like, if you have a huge, expansive world with many stories taking place in it , does that mean if one place gets one story, all the others are now "null and void" to other places? Or is it purely the story and the world and creatures in it are okay to send to other publications? (Sorry, I hope that made sense!)

escapurn

I wasn’t actually sure, so I had to ask some other writer friends. Here is what they said.

 It depends completely on the contract. If it’s short stories with anthologies or magazines, there’s usually very little restriction on what you can do with the world elsewhere. But with a book contract, a lot of times the contract will be more strict and other stories in that world have to go through the same publisher. But again, it depends on the terms of the contract how strict that is.”

Just to be clear, ‘First Rights’ is usually pretty limited and you’re unlikely to have an issue there because they’re only taking the right to be first in publishing a story. They’re not even preventing a republication elsewhere after their usage time is up. Secondly, the language in a specific contract should be quite clear, and does not normally include the entire world. Most contracts deal only with the specific work before them plus maybe its direct successor.
"My two cents? Tell your friend to try to avoid ever signing any contract which takes more than the direct right to the specific work before them, unless you’re doing write for hire work and are actually playing in their world—which is an entirely different scenario"

So it sounds like with short works and first rights, you’re good unless otherwise stated. :)

aliiekat:

How I fix inanimate objects.

aliiekat:

How I fix inanimate objects.

what anime is the girl with the robot arm
Anonymous

twerking-jellyfish:

evangelikon:

fullmetal alchemist 

"Girl with the robot arm"

Ed needs to cut his hair…

Gender Bender 

Feeding us Criticism


image

Art by http://maybellearts.tumblr.com/

If anyone is serious about anything in the arts, she’s going to get criticized. And she should. The truth is, artists need criticism. Otherwise we can’t fully hone our skills. We need people to feed it to us.

Some people say that “writers get a thick skin.” I’m not sure I believe that. With the arts—whether it’s writing, animation, painting, or dance—we also need to keep ourselves vulnerable, because art is all about opening up to others. Often the best art is vulnerable, in that it lets others connect with the artist’s mind and soul.

So artists need two things: they need criticism and they need to be vulnerable. This can lead to hurt feelings. But, generally speaking, those feelings are the artist’s responsibility, not the critic’s. The artist needs to learn to deal with them, because he will feel them over and over again throughout his career. He needs to learn to take criticism.

So when we ask for feedback, give it to us. People think they might help by not telling us what they don’t like, but in long-run, they’re hurting. They’re hurting our art and our personal growth.

We need critics who aren’t afraid of hurting our feelings. We need critics who are okay when our feelings are hurt.

Methods for Feeding Us Criticism

image

From http://weheartit.com/entry/106983355

With that said, there are ways to soften the impact for us if a critic is going to say something we don’t like to hear. First, there is a difference between being honest and being brutally honest. If we ask for your feedback, strive to be honest, but don’t feel too bad if you are accidentally brutally honest—frankly, we’ll need to learn to deal with that too.

If you know us well, you might want to gauge how experienced we are at writing and getting feedback. Like I said, taking criticism is something we need to learn. With beginners, a critic might want to be a little more indirect and imply what he doesn’t like. It’s hard being a beginner! Especially when we’re aware of how much of a beginner we are. Don’t squash a beginner’s ambitions by being brutally honest. They’re learning. Give them a little space to deal with those feelings.

Second, give us positive feedback with negative feedback. Positive feedback is just as important as negative because it lets us know what is working. Unfortunately, I’ve been in places where positive feedback was nonexistent. That can hurt us and our art. We need to develop an “eye” for what is working as much as one for what isn’t working.

One critique method that works well is the “sandwich method.” Sandwich your negative feedback between positive feedback and then end with encouragement.

There may be times when we are in a depression about our work, and we need to hear only positive feedback about our project. But it’s our job to tell you that. When some professional writers get in a slump, they tell their reader, “Just tell me what is working.” As writers, we need to take care of our mental health so we can keep going. We shouldn’t be afraid to do that, even if it means requesting only positive feedback.

Are We Ready for Feedback?

Along the mental health lines, as writers, we might not be ready for feedback on our current project. Guess what? That’s okay. I don’t like showing my work to others until I feel like I’ve nearly gotten it to the best of my abilities. Right now, I’m not ready for feedback on my novel, so I don’t ask for it. I don’t let people read it. And that’s okay.