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DM me, send me a chat or send me an email at tamika.symone@gmail.com! I’d love to draw for you ❤️
I found this hilarious post stating elons girlfriends as typical c drama concubines and I'm loosing it
Bonus
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Sen sez imperiya.
One of my all-time favorite science fiction series in 2025. Imagine being part of an Empire, attacked every Wet Season by Leviathans (a homage to kaiju monsters or the Titans from AOT, I imagine) but in between the politics and madness of it all? Bizarre murders that can only be solved the eccentric Ana Dolabra and her assistant Din.
I give you, my dear friends: Shadows of the Leviathan. The Tainted Cup is the first book, followed by A Drop of Corruption, which I finished it within three days of reading 😌 I cannot recommend it enough for those who are looking for something different, but familiar: A Sherlock Holmes in a Lovecraftian world.
Including the book, the audio version is fantastic. It makes the long drive home from the office all the more worth it because I want to know what happens next.
Reply with 🧪 and your favorite quote/scene from either book or 📚 if this series will be added to your 2025 TBR list :3
So JKR is anti asexual now to
Anti-asexual discourse has always been a canary in the mine when it comes to anti-LGBTQ stances. First it's trans people, than ace people, then gender non-conforming people, then bi people... it will just keep going until it's every queer person.
I looked up the tweet to confirm it was real (because even now it was shocking), and she doubles down (as she always does) in follow up tweets.
It’s always felt like the way TERFs hate Asexuals is related to the fact that we kinda fuck with their narrative by existing.
They can’t spread transphobia on the back of gender essentialism that says people with penises are animals with no impulse control, if simultaneously it’s generally understood that some people (which includes some people with penises) just don’t have that sexual impulse.
If asexuality is real then a lot of Radfem rhetoric starts falling apart.
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non-bending baddies !!! 😜😜😎🤺🔥🔥🪭😝💅🏼🤸♀️😋🤭🔪✨💕 (-> pt. 1)
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Alphonse Mucha ֍ Study for Poetry, The Arts (1898)
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Ultraman: Rising (2024)
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Dramatize Conflicting Wants
This week's new writing tip article is short, yet effective. And it comes from The Structure of Story by Ross Hartmann.
In most strong stories, the protagonist will, at some point, be struggling with conflicting wants. And if it's not the protagonist, it's at least another character. This can be something small, within a given scene, or something overreaching. Often what the character wants is at odds with what the character needs, and frequently in the third quarter of the story, the character will be trying to get both the want and need. Whatever the case, when the character has opposing goals, there is an opportunity for some great inner conflict.
Sure, a lot of times, this will be rendered in introspection--which is a great way to use introspection. But of course, introspection is rather abstract and well . . . happens inside the character, and therefore doesn't impact the surrounding world as much as action.
Rather than only have the conflict appear internally, it's often more effective to have the character try to take action toward each goal at the same time. Or, as Hartmann says it, dramatize the inner conflict.
The example he gives in The Structure of Story goes like this . . .
"Say a character is internally conflicted about whether she wants to go on a date with a man she met at a local café. To dramatize this internal conflict, we want to show her taking action toward the date and then taking action to cancel the date. First she begins to call his number but then immediately hangs up before he answers. After a couple of moments to calm her nerves, she calls again. She suggests a date for tomorrow night and he enthusiastically agrees. But then she decides against it and invites her brother. He's clearly disappointed but says it's a great idea. She decides she wants the date again so she asks him to bring someone else so that it's a double-date. She says, 'See you later, buddy,' and hangs up. Notice the unspoken battle within her. She jumps back and forth between her conflicting desires."
And now, her conflicting desires are affecting others, such as the man and her brother. This gives us more to play with.
Hartmann also points out that showing the character debating and struggling between two wants conveys to the audience that the choice isn't easy. The character is going to have to eventually sacrifice something of value. The audience will want to stick around to see which "something" the character will choose. The whiplash effect of moving from one desire to the other and back again, as they try to make both happen, also makes any part of a story more dynamic.