I Once Got Road Rash Down My Entire Front Leg Before Smashing Into A Car, And Yesterday I Was Literally

got really into drawing killer croc & baby doll from batman animated series for a minute . wanted to do my own designs (mariam doesnt change ofc because shes perfect)

Energy Explained in Other Systems

There is a lack of measurable evidence because any person that has worked with energies have had different experiences but were able to understand and manipulate energies according to their own will.

Energy has been used in many ways within culture and religion and have set beliefs depending on the system being practiced.

Next, are some given definitions defining energies within diverse philosophies.

Hindu = Prana

Chinese = Qi /Chi

Japanese =Ki

Greek = Pneuma

Hawaiian = Mana

Tibetan Buddhism = Lung

Hindu Philosophy

A Sanskrit word for "life force" or "vital principle" is often referred to as Prana. It is described as first coming down from the Sun and connecting all elements of the Universe. It has been invoked within the Hindu scriptures of the Vedas and Upanishads.

Prana is the belief of vitality surrounding all living beings. This energy is responsible for all bodily functions. There are five types of pranas, collectively known as the five vāyus.

1. Prāṇa:              Beating of the heart and breathing. Prana enters the body through the breath and is sent to every cell through the circulatory system.

2. Apāna:             Elimination of waste products from the body through the lungs and excretory systems.

3.Uḍāna:              Sound production through the vocal apparatus. It represents the conscious energy required to produce the vocal sounds corresponding to the intent.

4. Samāna:          Food digestions, repair or manufacture of new cells and growth, and heat regulations throughout the body.

5. Vyāna:             The energy that is needed for the body to have proper circulation, and the functions for the voluntary muscular system in which there is expansion and contraction processes throughout the body.

Chinese Philosophy

The earliest texts in which Qi or Chi is described was in 'Analects of Confucius' where it could mean "breath" and was combined with the Chinese word for blood.

Xue-qi, "blood and breath."

Living beings are born because of an accumulation of qi, and as the beings live out their lives the qi declines eventually resulting in death. This indicates that xue-qi referred to all living things, but it is believed that qi or chi exists within all things tangible.

For example, the wind is the qi or chi to the Earth, and the cosmic concepts of yin and yang are "the greatest of qi"

Yin and Yang which means "bright-dark," and "positive-negative" are the opposing forces needed in order to complement the concept of balance. There are thoughts that this duality symbolizes contradicting energy forces which manifest as light and dark, fire and water, expansion, and contraction. With this said, Chinese medicine states that the balance of negative and positive forms in the body are believed to be essential for overall satisfactory health.

Japanese Mythology

During the sixth and seventh centuries the Chinese word qi (or chi) was written using the same kanji script for their interpretation for energy being "Ki"

However, the meanings are a tad different.

While the Chinese use chi or qi to describe that energy exists in all things, animate and inanimate objects, the Japanese believe it is the creative flow and expressions used within our daily lives, martial arts, and symbolizes aspects of nature, and thusly the spirits. It is the transfer from living, animate beings in to inanimate which can change and manifest into various forms. It is the necessary intentions one wields.

Greek Mythology

Pneuma, "The breath of life" or "vital spirit" is composed of kinetic energies within the vessel, while Ignis is composed of thermal energies. All human beings need both kinetic and thermal energies in order to properly function.

In Greek medicine, pneuma is the form of circulation throughout the body's vital organs. Due to this the role, pneuma plays within the body to sustain consciousness. Some physiological theories suggest that the pneuma mediates between the heart, and the heart is regarded as the seat of the mind, and the brain.

In similar, Stoic philosophy, pneuma is the active and generative principles that are organized between the individual and the cosmos. The highest forms are the Gods, and the human soul. The human soul is believed to be fragments of the gods given life force in order to be born and given a vessel upon the physical plane. This exists within all animate and inanimate objects as energy transfers and changes.

Hawaiian Mythology

Mana, the spiritual energy of power and strength. This energy exists within places and people; however, it is said that mana is both external and internal concepts.

The Hawaiian people believe that individuals can gain mana or lose it depending on one's actions in everything that they do.

In mythology there were two ways to gain mana, and this was either done sexually or through violence.

To sexually gain mana one must invoke the god, Lono, deity of peace and fertility.

To gain mana through violence one must invoke the god Ku, deity of war and politics.

Tibetan Buddhism

Lung means the wind or breath. Exists as a key concept in Vajrayana traditions. Generally, it's concept relates to the understanding of the subtle body, and Three Vajras. Those three are the body, speech, and mind. Lung relates to the subtle flow of energy and the five elements. (Fire, Water, Earth, Space, and Air) Lung is mostly closely connected to the Air Element.

Lung has also been used to describe the winds or prana being used in conjunction with the subtle body during a time of exercise, but also more importantly everyday functions of the body and its own senses. There are five psychic winds which manifest into mahabhuta. These five relate to the lifeforce that animate the body-mind (namarupa) of all sentient beings.

The Five Root or Major Winds

The root winds support an element and is responsible for a function of the human body.

    The 'life-supporting wind' (Tib. སྲོག་འཛིན་རླུང་, sok dzin lung; Wyl. srog 'dzin rlung). Located in the brain, this lung regulates functions such as swallowing, inhalation, and concentration.

    The 'upward-moving wind' (Tib. གྱེན་རྒྱུ་རླུང་, gyengyu lung; Wyl. gyen rgyu rlung). Located in the chest and thorax, this lung regulates, among other things, speech, the body's energy and vitality, memory, mental endeavour and diligence.

    The 'all-pervading wind' (Tib. ཁྱབ་བྱེད་རླུང་, khyap ché lung; Wyl. khyab byed rlung). Residing in the heart, this lung controls all the motor activities of the body.

    The 'fire-accompanying wind' (Tib. མེ་མཉམ་གནས་རླུང་, me nyam né lung; Wyl. me mnyam gnas rlung). Found in the stomach and abdomen area, the fire-accompanying wind regulates digestion and metabolism.

    The 'downward-clearing wind' (Tib. ཐུར་སེལ་རླུང་, thursel lung; Wyl. thur sel rlung). Located in the rectum, bowels and perineal region, this lung's function is to expel faeces, urine, semen, and menstrual blood. It also regulates uterine contractions during labour.

The Five Branch Winds

The five branch winds enable the senses to operate.

    The naga wind (Tib.ཀླུའི་རླུང་, lu'i lung; Wyl. klu'i rlung). This lung connects with the eyes and sight.

    The tortoise wind (Tib. རུ་སྦལ་གྱི་་རླུང་, rubal gyi lung; Wyl. ru sbal gyi rlung). This wind connects with the heart and the sense of hearing.

    The lizard wind (Tib.རྩངས་པའི་རླུང་, tsangpé lung; Wyl. rtsangs pa'i rlung) associated with the nose and the sense of smell.

    The devadatta wind (Tib.ལྷས་བྱིན་གྱི་རླུང་, lhéjin gyi lung; Wyl. lhas byin gyi rlung) related to the sense of taste.

    The 'king of wealth deities' wind (Tib. ནོར་ལྷ་རྒྱལ་གྱི་རླུང་, nor lha gyal gyi lung; Wyl. nor lha rgyal gyi rlung). This wind connects with the body and the sense of touch.

Oh geez this might be a double ask because my phone glitched out when I tried to send previously BUT just wanted to say that I love ur Steve has older siblings au

I also need to say that I shamelessly combined that au with ur post about Tommy knowing Steve the best. Just picturing Steve’s sibs zoning out when his mom lists what he can’t eat because they assume she’s just being difficult. Flash forward a few years and they accidentally poison Steve with like peanut butter cookies and are realllly lucky that Tommy was staying over that weekend and knows he’s allergic.

anyways thx for all ur writing!

I only got this ask once so we’re good! The Steve Has Older Siblings AU has kinda been on hold for a bit because Dustin is either the easiest or the hardest character to write and right now, he’s being difficult for me.

BUT! I love this.

I’m going to change it around a bit because I’m on this kick right now where Steve is allergic to aspirin. Also, with the way that Steve’s mom is written for this AU, she is negligent but protective of her son. I don’t think she’d allow peanut butter in the house if Steve was allergic.

She wouldn’t allow aspirin either but Richard insists that it’s the only thing that cures a migraine (hangover), and Steve’s eight. He doesn’t even like taking his Flintstone vitamins so she’s not concerned about him getting in the medicine cabinet.

It’s not common that Tommy stays over at Steve’s when they’re sick.

Typically his mom watches them at their house but she had to go wake up his grandma (“That doesn’t make any sense. Why can’t she set an alarm clock?”/”I dunno, Steve. That’s what Mommy said. She had to go to Granny’s wake.”) so Mrs. Harrington was babysitting them.

Mrs. Harrington isn’t very good at taking care of them. Tommy wouldn’t tell Steve that because it’ll make him sad, but his mom kinda sucks at this. She doesn’t even give them popsicles for their sore throats or kiss their foreheads to check their temperature. She just disappears for long periods of time to yell into the phone.

Tommy’s kinda happy when she has to go into the office because he thinks Claire might look after them, but she’s apparently studying in her room so Steve’s brothers are doing it.

Tommy secretly likes this better because Jason and Richie are very nice to him, and they tell him that he’s cooler than Steve. No one has ever said that before! Not even Carol and they got married under the jungle gym.

Tommy likes hanging out with them even if he feels icky today.

He is standing in the kitchen next to Steve, watching Richie cut a little orange pill in half with a knife. Richie keeps muttering under his breath about running out of the ‘liquid S H I T.’ Tommy thinks it’s funny that he said a bad word, but can’t laugh about it because he can see the bottle that the pill came out of and –

“I don’t think we take that,” He voices but Richie brushes him off. He says it’s like candy. Tommy has brothers too, so he knows that sometimes you gotta give in or they’ll rub your face into the carpet until you get rugburn, but, “I know but… but what if only I take it?”

“You take half,” Richie tells him. “Stevie over here takes the other half and then we’re right as rain. It reduces fever.”

“Yeah,” Jason adds from behind them. “So your brain doesn’t leak out your ears.”

Tommy looks over at Steve but he isn’t fully awake so there’s not much of a reaction there. Plus, he’s not a very good reader so Tommy’s not sure if he even knows what the bottle says. He tries again, ignoring Jason, “That’s not what Mrs. Harrington gave us earlier.”

“Yeah, I know. This is better.”

“Steve can’t take that,” Tommy tries again after he crunches the medicine between his teeth. He sticks out his tongue so Richie can see that it’s gone, and then adds, “Mommy gave that to him once and it made him really sick.”

“It did?” Steve croaks, snatching his hand back when Richie tries to hand him the pill. Richie tries to force the pill into his mouth but Steve presses his lips together. It makes his brother swear and gesture to Jason, and then Steve is snatched off his feet with a hand pinching his nose shut.

He struggles and Tommy wants to help but he – he also wants Richie and Jason to like him so, he doesn’t help. Steve gasps for breath and the pill goes in…and Steve is fine. He’s angry and out of breath, and his nose is still stuffy so he still kinda sounds like a frog but he’s not.. he’s not blue like last time.

Tommy thinks, oh. He thinks, cool.

Everything is fine for fifteen minutes and then Tommy is yelling out the door of Steve’s bedroom that they need help. Steve is breathing weird and – “and, I – I think he’s going to die!”

A lot of stuff happens at once. Claire leaves her room, Jason and Richie come up the stairs, and they all start yelling and blaming each other. No one really jumps into action until Tommy bursts into tears. Then it’s movement and car rides, and Tommy is sitting in the waiting room at the hospital without shoes on.

He doesn’t know how long they’ve been sitting there when Mr. and Mrs. Harrington rush into the room. The only thing he does know is that he’s never seen anybody look as angry as Mrs. Harrington did when she sees them.

She looks like she’s going to yell at them but Mr. Harrington grabs her by the arm and drags her to the reception desk. They disappear behind the white double doors that Steve went through.

It only makes Tommy cry harder.

Wingman & Redbird

Describe your Main Character sheet

Skin

Tone: Pale, Rosy, Olive, Dark, Tanned, Alabaster, Ebony, Bronze, Golden, Fair

Texture: Smooth, Rough, Silky, Coarse, Flaky, Supple, Wrinkled, Calloused, Bumpy

Condition: Moles, Acne, Dry, Greasy, Freckled, Scars, Birthmarks, Bruised, Sunburned, Flawless

Complexion: Clear, Ruddy, Sallow, Glowing, Dull, Even-toned, Blotchy

Eyes

Size: Small, Large, Average, Tiny, Bulging, Narrow

Color: Grey, Brown, Blue, Violet, Pink, Green, Gold, Hazel, Crimson, Amber, Turquoise, Sapphire, Onyx

Shape: Doe-eyed, Almond, Close-set, Wide-set, Round, Oval, Hooded, Monolid

Expression: Deep-set, Squinty, Monolid, Heavy eyelids, Upturned, Downturned, Piercing, Gentle, Sparkling, Steely

Other: Glassy, Bloodshot, Tear-filled, Clear, Glinting, Shiny

Hair

Thickness: Thin, Thick, Fine, Normal

Texture: Greasy, Dry, Soft, Shiny, Curly, Frizzy, Wild, Unruly, Straight, Smooth, Wavy, Floppy

Length: Cropped, Pixie-cut, Afro, Shoulder length, Back length, Waist length, Past hip-length, Buzz cut, Bald

Styles: Weave, Hair extensions, Jaw length, Layered, Mohawk, Dreadlocks, Box braids, Faux locks, Braid, Ponytail, Bun, Updo

Color: White, Salt and pepper, Platinum blonde, Golden blonde, Dirty blonde, Blonde, Strawberry blonde, Ash brown, Mouse brown, Chestnut brown, Golden brown, Chocolate brown, Dark brown, Jet black, Ginger, Red, Auburn, Dyed, Highlights, Low-lights, Ombre

Eyebrows: Thin eyebrows, Average eyebrows, Thick eyebrows, Plucked eyebrows, Bushy eyebrows, Arched eyebrows, Straight eyebrows

Lips

Shape: Full, Thin, Heart-shaped, Bow-shaped, Wide, Small

Texture: Chapped, Smooth, Cracked, Soft, Rough

Color: Pale, Pink, Red, Crimson, Brown, Purple, Nude

Expression: Smiling, Frowning, Pursed, Pouting, Curved, Neutral, Tight-lipped, Parted

Nose

Shape: Button, Roman, Hooked, Aquiline, Flat, Pointed, Wide, Narrow, Crooked, Upturned, Snub

Size: Small, Large, Average, Long, Short

Condition: Freckled, Sunburned, Smooth, Bumpy

Build

Frame: Petite, Slim, Athletic, Muscular, Average, Stocky, Large, Lean, Stout, Bony, Broad-shouldered, Narrow-shouldered

Height: Short, Tall, Average, Petite, Giant

Posture: Upright, Slouched, Rigid, Relaxed, Graceful, Awkward, Stiff, Hunched

Hands

Size: Small, Large, Average, Delicate, Strong

Texture: Smooth, Rough, Calloused, Soft, Firm

Condition: Clean, Dirty, Manicured, Scarred, Wrinkled

Nails: Short, Long, Polished, Chipped, Clean, Dirty, Painted, Natural

Voice

Tone: Deep, High, Soft, Loud, Raspy, Melodic, Monotonous, Hoarse, Clear, Gentle

Volume: Loud, Soft, Whispery, Booming, Muted

Pace: Fast, Slow, Steady, Hasty, Measured

Expression: Cheerful, Sad, Angry, Calm, Anxious, Confident, Nervous, Excited, Bored

Have you ever seen a cat do a running leap onto a bed before either standing there confused or not making their mark?

I have. It's hilarious and sometimes they land on people! Which is arguably funnier when someone groans. Not so much when they land on you though. They can leave bruises bigger than the cat. Then they just stay there, purring, so you can't even be mad about it.

Silly imagine ( mirror ) :

Red Velvet : uhhm Dark Choco I know you don't care much about appearance, but at least take care of it a little bit.

Dark Choco : What wrong with my appearance ?

Red Velvet : You hair is...

Licorice : Horrible

Dark Choco who cuts his own hair with a sword and doesn't look while doing it : Ohh that will be hard to fix.

Red Velvet + Licorice : Why ??

Dark Choco : My reflection and i have different hair lengths, while his is still past his waist mine is just shoulder length.

Red Velvet suprise Pikachu face meme.

Licorice scared kid holding cross meme.

In the end Red Velvet helps Dark Choco fix his hair and Licorice suffered from Eisoptrophobia ( fear of mirrors ) for a while.

120 ULTIMATE LIST OF CHARACTER FLAWS. Writers save this!

1. Moral Flexibility - Adapts their ethics to fit the situation, often justifying questionable actions as necessary.

2. Cognitive Dissonance - Holds two conflicting beliefs or values and struggles to reconcile them, leading to inner turmoil.

3. Overempathy - Feels others’ emotions too intensely, leading to burnout or an inability to make objective decisions.

4. Intellectual Arrogance - Dismisses others’ ideas as inferior, believing their own intellect is superior.

5. Chronic Overthinking - Analyzes situations to the point of paralysis, unable to take decisive action.

6. Restless Wanderlust - Has a constant desire for change or travel, leading to instability in relationships or careers.

7. Savior Complex - Feels compelled to “save” others, often to the detriment of their own well-being or others’ autonomy.

8. Emotional Vampirism - Drains others emotionally, needing constant validation or attention.

9. Righteous Indignation - Becomes excessively angry over perceived injustices, often alienating others.

10. Altruistic Self-Destruction - Sacrifices themselves for others to an unhealthy degree, often leading to self-neglect.

11. Pathological Modesty - Downplays their own achievements to the point of self-sabotage or invisibility.

12. Incapable of Solitude - Feels an intense fear of being alone, leading to codependent or unhealthy relationships.

13. Over-Rationalization - Justifies every action or decision, even when it’s clearly flawed, to avoid guilt or responsibility.

14. Constant Self-Sabotage - Subconsciously undermines their own success due to deep-seated fears or insecurities.

15. Misplaced Loyalty - Stays loyal to people or causes even when it’s harmful or undeserved.

16. Ethical Rigidity - Follows their moral code to the letter, unable to adapt to complex or gray situations.

17. Need for Obscurity - Prefers to stay unnoticed or in the background, avoiding recognition or responsibility.

18. Involuntary Aloofness - Appears distant or disinterested, often without meaning to, leading to misunderstandings.

19. Fear of Mediocrity - Terrified of being ordinary, they constantly strive for greatness, often leading to burnout.

20. Rejection Sensitivity - Overreacts to criticism or perceived slights, often withdrawing or lashing out.

21. Conflict Avoidance - Avoids confrontation at all costs, leading to unresolved issues and resentment.

22. Over-idealization of Others - Puts people on pedestals, only to be deeply disappointed when they don’t meet expectations.

23. Chronically Unfulfilled - No matter what they achieve, they always feel something is missing, leading to constant searching.

24. Compulsive Truth-Telling - Feels compelled to speak the truth, even when it would be kinder or wiser to remain silent.

25. Overactive Imagination - Sees threats or possibilities where there are none, leading to anxiety or missed opportunities.

26. Faux Humility - Pretends to be humble but secretly craves admiration or validation.

27. Micromanagement - Needs to control every detail, often suffocating others or hindering their own progress.

28. Anachronistic Thinking - Clings to outdated beliefs or practices, struggling to adapt to modern realities.

29. Over-Reliance on Routine - Becomes anxious or lost without their routines, struggling to adapt to change.

30. Selective Memory - Remembers events in a way that suits their narrative, often distorting the truth.

31. Paradoxical Fear of Success - Desires success but subconsciously fears the changes or responsibilities it might bring.

32. Compassion Fatigue - Once empathetic, now numbed or indifferent due to overwhelming exposure to others’ suffering.

33. Overwhelming Nostalgia - Lives in the past, unable to move forward or appreciate the present.

34. Unyielding Perfectionism - So focused on flawlessness that they struggle to complete tasks or accept anything less than perfect.

35. Epistemic Arrogance - Believes they know everything worth knowing, dismissing the possibility of learning from others.

36. Excessive Hedonism - Pursues pleasure to the point of neglecting responsibilities or moral considerations.

37. Over-Cautiousness - So afraid of making mistakes that they rarely take action, leading to missed opportunities.

38. Idealistic Naivety - Believes the world should operate according to their ideals, often clashing with reality.

39. Ambition without Direction - Desires greatness but has no clear path or plan, leading to frustration and failure.

40. Emotional Transference - Projects unresolved emotions onto others, often misinterpreting their intentions or actions.

41. Overdependence on Routine - Becomes anxious or lost without their routines, struggling to adapt to change.

42. Misplaced Guilt - Feels responsible for things outside of their control, leading to unnecessary self-blame.

43. Fear of Being Ordinary - Constantly strives to stand out, often at the expense of authenticity or well-being.

44. Chronic Indecisiveness - Struggles to make even simple decisions, constantly second-guessing themselves.

45. Faux Cynicism - Pretends to be jaded or cynical as a defense mechanism, while secretly caring deeply.

46. Romanticization of Suffering - Believes that suffering is noble or meaningful, often rejecting happiness or comfort.

47. Selective Compassion - Empathetic towards some but completely indifferent or cold to others, often based on biases.

48. Avoidant Optimism - Avoids negative thoughts or situations, clinging to an unrealistic positivity that ignores real problems.

49. Fear of Abandonment - Clings to relationships out of fear of being left alone, often leading to unhealthy dynamics.

50. Overidentification with Work - Sees their job as their entire identity, struggling with self-worth outside of work.

51. Excessive Altruism - Sacrifices their own needs to help others, often to their own detriment.

52. Self-Imposed Isolation - Withdraws from others out of fear of rejection or misunderstanding, leading to loneliness.

53. Over-Analysis Paralysis - Overthinks every situation to the point of being unable to make decisions or take action.

54. Eternal Romantic - Sees the world through a lens of idealized love, often leading to disillusionment or heartbreak.

55. Emotional Incontinence - Struggles to control their emotions, often overwhelming others with their intensity.

56. Fear of Aging - Obsessed with youth, they go to great lengths to deny or hide the aging process.

57. Intellectual Cowardice - Avoids challenging their own beliefs or ideas, sticking to what they know out of fear of change.

58. Emotional Hoarding - Holds onto past hurts or grudges, unable to let go and move on.

59. Unquenchable Curiosity - Always needs to knw more, often prying into others’ lives or crossing boundaries.

60. Romantic Escapism - Uses fantasy or daydreams as a way to avoid dealing with reality, leading to detachment.

61. Masochistic Tendencies - Deliberately seeks out situations that cause them pain or discomfort, believing they deserve it.

62. Incurable Wanderer - Can never settle down, always moving on to the next place or experience, leading to rootlessness.

63. Dependency on Validation - Needs constant approval or praise from others to feel good about themselves.

64. Constant Self-Reinvention - Continuously changes their identity or persona, never settling on who they truly are.

65. Moral Masochism - Finds satisfaction in self-punishment or guilt, often holding themselves to impossible standards.

66. Faux Bravado - Pretends to be fearless or confident to hide deep-seated insecurities or fears.

67. Over-romanticization of the Past - Idealizes past experiences, believing that things were better back then, leading to dissatisfaction with the present.

68. Chronic Hedging - Never fully commits to decisions or actions, always leaving themselves an escape route.

69. Fear of Stagnation - Constantly needs to be doing something or moving forward, fearing they’ll become irrelevant or bored.

70. Over-Attachment to Objects - Places excessive sentimental value on material possessions, struggling to let go.

71. Emotional Stoicism - Refuses to show or acknowledge emotions, leading to repression and eventual breakdowns.

72. Self-Flagellation - Constantly punishes themselves for perceived failures or mistakes, often disproportionate to the actual events.

73. Fear of the Unknown - Terrified of what they can’t predict or control, leading to anxiety or avoidance of new experiences.

74. Romantic Pessimism - Believes that love or relationships are doomed to fail, leading to self-sabotage or cynicism.

75. Intellectual Purism - Believes in the superiority of “pure” intellectual pursuits, often dismissing practical or emotional concerns.

76. Existential Dread - Obsesses over the meaning (or lack thereof) of life, leading to paralysis or despair.

77. Involuntary Nonconformity- Desires to fit in but can’t help standing out or going against the grain, often feeling alienated.

78. Self-Imposed Martyrdom - Puts themselves in a position of suffering or sacrifice, believing it’s their duty or fate.

79. Idealized Self-Image - Clings to an unrealistic self-concept, struggling to accept their flaws or limitations.

80. Compulsive Honesty - Feels compelled to always tell the truth, even when it’s hurtful or inappropriate.

81. Over-Reliance on Technology - Becomes helpless without modern conveniences, struggling to cope with real-world challenges.

82. Moral Exhibitionism - Shows off their ethics or principles to gain admiration or moral superiority, often insincerely.

83. Perpetual Student Syndrome - Always learning but never applying knowledge, avoiding real-world responsibilities.

84. Emotional Osmosis - Absorbs others’ emotions so deeply that they lose track of their own feelings or needs.

85. Pathological Frugality - So obsessed with saving money or resources that they miss out on life’s joys or opportunities.

86. Obsessive Self-Improvement - Never satisfied with themselves, constantly striving for unattainable perfection.

87. False Modesty - Pretends to be humble while fishing for compliments or validation.

88. Uncontrolled Impulsiveness - Acts on whims or impulses without considering the consequences, leading to chaos or regret.

89. Chronic Hedonism - Lives only for pleasure, often to the detriment of their long-term happiness or relationships.

90. Overly Abstract Thinking - So focused on big ideas or concepts that they lose touch with reality or practical concerns.

91. Romantic Idealism - Believes in a perfect love or relationship, often leading to disappointment or disillusionment.

92. Selective Altruism - Only helps others when it suits them, often ignoring those who don’t fit their criteria.

93. Pathological Shyness - So shy or introverted that they struggle to function in social situations, often missing out on opportunities.

94. Moral Superiority - Believes they are more ethical or righteous than others, often looking down on those who don’t share their views.

95. Over-identification with a Role - Sees themselves only as their job, family role, or social identity, losing sight of their true self.

96. Chronic Complaining - Constantly finds something to complain about, often bringing others down or creating a negative atmosphere.

97. Faux Stoicism - Pretends to be emotionally strong or unaffected, while secretly struggling with deep emotional turmoil.

98. Addiction to Drama - Thrives on conflict or chaos, often creating drama where there is none to feel alive or important.

99. Obsessive Collecting - Gathers possessions, knowledge, or experiences obsessively, often unable to let go or move on.

100. Inflexible Optimism - Refuses to acknowledge negative possibilities, often unprepared for setbacks or challenges.

101. Contrarianism - Always takes the opposite stance just to challenge others, often without genuine conviction.

102. Emotional Projection - Attributes their own feelings or issues onto others, often leading to misunderstandings.

103. Compulsive Heroism - Feels the need to be seen as heroic or brave, even in situations that don’t call for it.

104. Spiritual Narcissism - Uses spirituality as a way to feel superior to others or to avoid personal flaws.

105. Self-Defeating Humor - Constantly makes jokes at their own expense, using humor to deflect serious issues.

106. Identity Fluidity - Frequently changes their identity or beliefs to fit in with different groups, losing a sense of true self.

107. Overattachment to the Past - Can’t move on from past successes or failures, allowing them to define their present.

108. Pseudointellectualism - Pretends to know more than they do, using complex language or ideas to impress others.

109. Overidealization of Youth - Places youth on a pedestal, often dismissing the value of experience or aging.

110. Refusal to Accept Help - Rejects assistance from others, believing they must do everything on their own, even to their detriment.

111. Emotional Manipulation - Uses guilt, pity, or other emotions to control or influence others, often without realizing it.

112. Inconsistent Values - Holds contradictory beliefs or morals, leading to confusion or hypocrisy in their actions.

113. Obsession with Legacy - So focused on how they’ll be remembered that they neglect the present or make unwise choices.

114. Excessive Eagerness to Please - Goes out of their way to make others happy, often at the cost of their own needs or principles.

115. Emotionally Guarded - Builds walls around their feelings, making it difficult for others to get close or understand them.

116. Selective Memory - Chooses to remember events in a way that favors them, often distorting the truth.

117. Overattachment to Authority - Relies heavily on rules or leaders, struggling to make decisions independently or question authority.

118. Fear of Vulnerability - Avoids showing weakness or asking for help, leading to isolation or burnout.

119. Intellectual Detachment - Approaches everything with cold logic, often ignoring the emotional or human side of situations.

120. Obsession with Control - Needs to control every aspect of their life and others’, often leading to stress or strained relationships.

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How to pull off descriptions

New authors always describe the scene and place every object on the stage before they press the play button of their novels. And I feel that it happens because we live in a world filled with visual media like comics and films, which heavily influence our prose.

In visual media, it’s really easy to set the scene—you just show where every object is, doesn’t matter if they’re a part of the action about to come or not. But prose is quite different from comics and films. You can’t just set the scene and expect the reader to wait for you to start action of the novel. You just begin the scene with action, making sure your reader is glued to the page.

And now that begs the question—if not at the beginning, where do you describe the scene? Am I saying you should not use descriptions and details at all? Hell naw! I’m just saying the way you’re doing it is wrong—there’s a smarter way to pull off descriptions. And I’m here to teach that to you.

***

#01 - What are descriptions?

Let’s start with the basics—what are descriptions? How do you define descriptions? Or details, for that matter? And what do the words include?

Descriptions refer to… descriptions. It’s that part of your prose where you’re not describing something—the appearance of an object, perhaps. Mostly, we mean scene-descriptions when we use the term, but descriptions are more than just scene-descriptions.

Descriptions include appearances of characters too. Let’s call that character-descriptions.

Both scene-descriptions and character-descriptions are forms of descriptions that we regularly use in our prose. We mostly use them at the beginning of the scene—just out of habit.

Authors, especially the newer ones, feel that they need to describe each and every nook and cranny of the place or character so they can be visualized clearly by their readers, right as the authors themselves visualized them. And they do that at the start of the scene because how can you visualize a scene when you don’t know how the scene looks first.

And that’s why your prose is filled with how the clouds look or what lights are on the room before you even start with the dialogues and action. But the first paragraph doesn’t need to be a simple scene-description—it makes your prose formulaic and predictable. And boring. Let me help you with this.

***

#02 - Get in your narrator’s head

The prose may have many MCs, but a piece of prose only has a single narrator. And these days, that’s mostly one of the characters of your story. Who uses third-person omniscient narrator these days anyway? If that’s you, change your habits.

Anyway, know your narrator. Flesh out their character. And then internalize them—their speech and stuff like that. Internalize your narrator to such an extent that you can write prose from their point-of-view.

Now, I don’t mean to say that only your narrator should be at the center of the scene—far from it. What I mean is you should get into your narrator’s head.

You do not describe a scene from the eyes of the author—you—but from the eyes of the narrator. You see from their eyes, and understand what they’re noticing. And then you write that.

Start your scene with what the narrator is looking at.

For example,

The dark clouds had covered the sky that day. The whole classroom was in shades of gray—quite unusual for someone like Sara who was used to the sun. She felt the gloom the day had brought with it—the gloom that no one else in her class knew of.

She never had happy times under the clouds like that. Rain made her sad. Rain made her yearn for something she couldn’t put into words. What was it that she was living for? Money? Happiness?

As she stared at the sky through the window, she was lost in her own quiet little corner. Both money and happiness—and even everything else—were temporary. All of it would leave her one day, then come back, then leave, then come back, like the waves of an ocean far away from any human civilization in sight.

All of it would come and go—like rain, it’d fall on her, like rain, it’d evaporate without proof.

And suddenly, drops of water began hitting the window.

You know it was a cloudy day, where it could rain anytime soon. You know that for other students, it didn’t really matter, but Sara felt really depressed because of the weather that day. You know Sara was at the corner, dealing with her emotions alone.

It’s far better than this,

The dark clouds covered the sky that day. It could rain anytime soon.

From her seat at the corner of the room, Sara stared at the sky that made everything gray that day. She…

The main reason it doesn’t work is that you describe the scene in the first paragraph, but it’s devoid of any emotions. Of any flavor. It’s like a factual weather report of the day. That’s what you don’t want to do—write descriptions in a factual tone.

If you want to pull off the prior one, get to your narrator’s head. See from their eyes, think from their brain. Understand what they’re experiencing, and then write that experience from their POV.

Sara didn’t care what everyone was wearing—they were all probably in their school uniforms, obviously, so I didn’t describe that. Sara didn’t focus on how big the classroom was, or how filled, or what everybody was doing. Sara was just looking at the clouds and the clouds alone, hearing everybody just living their normal days, so I mentioned just those things.

As the author, you need to understand that only you, the author are the know-it-all about the scene, not your narrator. And that you’re different from your narrator.

Write as a narrator, not as an author.

***

#03 - Filler Words

This brings me to filler words. Now, hearing my advice, you might start writing something like this,

Sarah noticed the dark clouds through the window. She saw that they’d saturated the place gray.

Fillers words like “see”, “notice”, “stare”, “hear” should be ignored. But many authors who begin writing from the POV of the characters start using these verbs to describe what the character is experiencing.

But remember, the character is not cognizant of the fact that they’re seeing a dark cloud, just that it’s a dark cloud. You don’t need these filler words—straight up describe what the character is seeing, instead of describing that the character is seeing.

Just write,

There were dark clouds on the other end of the window, which saturated the place gray.

Sarah is still seeing the clouds, yeah. But we’re looking from her eyes, and her eyes ain’t noticing that she’s noticing the clouds.

It’s kinda confusing, but it’s an important mistake to avoid. Filler words can really make your writing sound more amateurish than before and take away the experience of the reader, because the reader wants to see through the narrator’s eyes, not that the narrator is seeing.

***

#04 - Characters

Character-descriptions are a lot harder to pull off than scene-descriptions. Because it’s really confusing to know when to describe them, their clothing, their appearances, and what to tell and what not to.

For characters, you can give a full description of their looks. Keep it concise and clear, so that your readers can get a pretty good idea of the character with so few words that they don’t notice you’ve stopped action for a while.

Or can show your narrator scanning the character, and what they noticed about them.

Both these two tricks only work when a character is shown first time to the readers. After that, you don’t really talk about their clothing or face anymore.

Until there’s something out of the ordinary about your character.

What do I mean by that? See, you’ve described the face and clothes of the character, and the next time they appear, the reader is gonna imagine the character in a similar set of clothes, with the same face and appearance that they had the first time. Therefore, any time other than the first, you don’t go into detail about the character again. But, if something about your character is out of ordinary—there are bruises on their face, scars, or a change in the way they dress—describe it to the reader. That’s because your narrator may notice these little changes.

***

#05 - Clothing

Clothing is a special case. Some new authors describe the clothes of the characters when they’re describing the character every time the reader sees them. So, I wanna help you with this.

Clothing can be a way to show something about your character—a character with a well-ironed business suit is gonna be different from a character with tight jeans and baggy t-shirt. Therefore, only use clothing to tell something unique about the character.

Refrain from describing the clothing of characters that dress like most others. Like, in a school, it’s obvious that all characters are wearing school uniforms. Also, a normal teenage boy may wear t-shirts and denim jeans. If your character is this, no need to describe their clothing—anything the reader would be imagining is fine.

Refrain from describing the clothing of one-dimensional side-characters—there’s a high chance you’ve not really created them well enough that they have clothing that differs from the expectations of the readers. We all know what waiters wear, or what a college guy who was just passing by in the scene would be wearing.

You may describe the clothing of the important character in the story, but only in the first appearance. After that, describe their clothes only if the clothes seem really, really different from the first time. And stop describing their clothes if you’ve set your character well enough in the story that your readers know what to expect from them in normal circumstances—then, describe clothes only when they’re really, really different from their usual forms of clothing.

***

#06 - Conclusion

I think there was so much I had to say in this article, but I didn’t do a good job. However, I said all that I wanted to say. I hope you guys liked the article and it helps you in one way or the other.

And please subscribe if you want more articles like this straight in your inbox!

Some tips for using a few words to describe voices:

1. Tone Words: Use tone words to convey the emotional quality of a voice. For example, you can describe a voice as "melodic," "soothing," "sharp," "gentle," or "commanding" to give readers a sense of the tone.

2. Pitch and Range: Mention the pitch and range of the voice. Is it "deep," "high-pitched," "raspy," or "full-bodied"? This can provide insight into the character's age, gender, or emotional state.

3. Accent and Diction: Describe the character's accent or diction briefly to give a sense of their background or cultural influences. For instance, "British-accented," "Southern drawl," or "formal."

4. Volume: Mention the volume of the voice, whether it's "whispering," "booming," "murmuring," or "hushed."

5. Quality: Use terms like "velvet," "silken," "gravelly," "honeyed," or "crisp" to convey the texture or quality of the voice.

6. Rate of Speech: Describe how fast or slow the character speaks, using words like "rapid," "slurred," "measured," or "rambling."

7. Mood or Emotion: Indicate the mood or emotion carried by the voice. For example, a "quivering" voice may convey fear or anxiety, while a "warm" voice may express comfort and reassurance.

8. Resonance: Describe the resonance of the voice, such as "echoing," "nasal," "booming," or "tinny."

9. Timbre: Mention the timbre of the voice, using words like "rich," "thin," "clear," or "smoky."

10. Cadence: Highlight the rhythm or cadence of speech with descriptors like "staccato," "lilting," "rhythmic," or "halting."

11. Intonation: Convey the character's intonation by saying their voice is "sarcastic," "apologetic," "confident," or "questioning."

12. Vocal Characteristics: If applicable, mention unique vocal characteristics, like a "lisp," "stutter," "drawl," or "accented 'r'."