Kris...?

While it's...cute? in fanart to see Kris go up and hug Susie, in canon, when Kris is moving on their own to sit next to her, they always give her space.

(Measuring tape for social distancing added for emphasis)

And the one time Kris (jokingly?) asked her for a hug/to share her jacket, they asked, they didn't glomp her.

They immediately smile at her ribbing a moment later, showing that they're not bothered by the refusal.

In fact, any time they've gotten physically close, it's because Susie approached Kris.

Which Kris seems to be perfectly alright with; she's their best friend and Kris does seem to want to be close to her, since they ask her for a hug after the Spamton fight.

My point is, Kris deliberately gives her space when it's up to them how close to get to her. Not only are they respectful of her boundaries, Kris seems to want Susie to bridge that physical gap herself.

If they hug, Susie's probably going to be the one to do it first.

A concept in my head that been rolling around a lot:

Hanahaki, but instead of it being triggered by unrequited love, it's triggered because all the love you have for a person turns inwards because you're too afraid to show it.

So it kills you, not because someone doesn't love you back, but because you don't let it out and all that love you have stored, that could grow into something beautiful, turns on you and turns your insides beautiful.

Love is growth, and without any place for it to grow outside, it grows in. If you confess, reciprocated or not, the disease goes away because it's no longer trapped. It gives self-destruction a new meaning.

I was gonna post this as a reply for this post by @he4d-banger but it got too long so I’m making it a separate post.

I have talked about this before but I’ll talk again because I love talking about Cale’s complex emotional state.

More than pushing them away, Cale completely ignored his grief which has made him completely emotional constipated. This has lead to many side affects which get glossed over most of the time since we read the novel from Cale’s pov.

Some that I can remember from the top of my head right now are: dissociation, selective memory, depression, anxiety, stress and tons of physical problems like eating disorder, etc. which I’ll get into more another time. His self destructive tendencies based on the decisions he makes are all because of his emotional constipation.

Cale’s denial over his own symptoms has become chronic over the years even tho it’s fairly visible from other peoples perspective. Some instances I can remember where we see Cale’s condition from other peoples pov are: moments when Alberu tells him he’ll definitely get his slacker life, everyone’s reaction to him smiling after crying, Choi Han meeting younger Cale, the villains’ reaction when Cale gets angry, everyone telling him he’s too weak and skinny, Ron and Choi Han’s pov during side story 7 after Cale dreamed about CJS and LSH first death anniversary, etc. Everyone can recognize that he’s not well.

And about the venting on destroying stuff, that’s exactly correct. Many times when we see the fight from the other pov of the villain, most of the dialogue is about how angry and terrifying Cale looks. Of course part of that could be due to the effect of Dominating Aura, but they specifically mention Cale’s expression and the look in his eyes a lot. That’s what truly terrifies them. Cale doesn’t recognize this but he’s really expressive, everyone says that he’s very expressive and lets his emotions slip through his face.

Another case when he couldn’t control his emotions anymore was when he cried. An interesting fact is that people who aren’t used to crying and/or hold themselves back from crying, once they do actually cry they can’t stop the flow of tears and are motionless and/or rather calm and quiet. It’s that silent unstoppable crying that Cale displayed. His grief finally exploded after meeting LSH and he couldn’t understand the sadness he was feeling at that moment because the meeting ended with consolidation and relief. All the pain over the deaths of his best friends finally released.

That is a complete contrast to his reaction in side story 7 after the first anniversary of his team’s death. When he arrived home he just collapsed on the floor expressionless. Not once did he cry. But the way he collapsed at that moment said a lot about his state at the time. All the stress accumulated in his body from holding back his emotions all day today affected his physical health to total exhaustion

Actually in my opinion SS7 is one of the best chapters about examining Cale’s emotional state. There are multiple visible of him suppressing his emotions like: keeping a neutral expression all day around, refusing to mention what day it was tomorrow even though everyone knew, not closing his eyes in front of the grave because the memories would resurface, the small panic attack shown by his shortage of breath, background silence and feeling of heaviness, and you can see how burned out emotionally and physically he feels. The only way he wouldn’t feel these things was by working, as it is noted multiple times throughout the story that he never took days off.

And my favorite moment was when we see Cale waking up from the dream and very clearly experiencing signs of ptsd and a panic attack. He was feeling cold despite the entire house being heated with magic, cold sweat running down his face, shortage of breath as soon as he woke up and a distressed expression as shown from Ron and Choi Han’s pov He also felt the need to hear noises and pet the kids to make him feel a sense of attachment with reality since the silence in his memories made him feel suffocated. Tho Cale himself couldn’t recognize these symptoms.

That side story also shows how he has grown emotionally throughout the novel now becoming more emotionally open with others.

I can also go on about his selective memory, anxiety, get more into his self destructive lifestyle and about his obvious signs of depression during his team leader days and early part of the novel while touching on his childhood trauma, but this post is already long enough so I’ll leave those for another day.

There will BE no friendship. (And yes I'm still not dead and still have intents on coming back here)

original thread by @pukicho and several other users

I don’t know if anyone has ever done this before but, here ya go… The Different Types of Fanfiction! 

I probably left a few out, but these are the most common, compared to their base fiction’s canon plot. Enjoy! XD

Tension vs. Conflict: What’s the Difference?

Good morning everyone! It’s my birthday today and because it’s my birthday I thought I’d post today (that’s kind of an obscure reference to Star Wars Guy and his girlfriend lol)!

Conflict and tension in literature help build drama and keep readers engaged through the end of the book. Learning the distinctions between conflict and tension will help elevate your writing and make your storylines more engaging.

What Is Tension in Writing?

Tension in a literary context is the sense that something ominous is right around the corner. Building a large amount of tension as a writer keeps your readers engaged up until the end of the story. Mystery novels are full of tension and foreboding, and they generally feature tense scenes from beginning to end. Working within the genre of mystery writing is a great way to learn how to layer tension into your narrative arc. Good use of tension makes a story worth reading and keeps readers guessing.

3 Tips for Using Tension in Your Writing

Learning to build tension is no easy task. Even the most seasoned professional writers have trouble maintaining tension from beginning to end. Here are a few tips for using tension successfully in your writing:

Foreshadowing: An important part of building tension is using foreshadowing to build dramatic tension and keep readers on the edges of their seats. In Harry Potter, author J.K. Rowling uses flashbacks and backstory to foreshadow the eventual major conflict that will unfold between Harry Potter and the villainous Voldemort.

Inner conflict: Sometimes inner conflict and self-doubt can be layered in through character development and used to build levels of tension. In William Shakespeare’s Hamlet, the main character wants to avenge his father’s death but is beset by self-doubt, paralyzing indecision, and mental strain. As an audience, there is a sense of tension in every scene as we wait to see if Hamlet will act on his inner desire for retribution or remain stuck in a place of indecision.

A time limit: One great way to build tension in your story is to place a time limit on an action your character has to undertake. By adding the element of a ticking clock, you build tension and increase stakes. This is a common technique used in thriller novels and films as well as action and adventure stories.

What Are the Differences Between Conflict and Tension?

While tension simmers under the surface, conflict is generally out in the open—it's tension realized. Tension might be present an unspoken rivalry between the protagonist and antagonist or in the audience’s awareness of an impending disaster.

Conflict, on the other hand, involves an active clash; maybe the protagonist and the antagonist engage in a firefight or a heated debate, or maybe a character fights off a pack of animals or works to prevent climate catastrophe. Even if the conflict is interior—a character battling low self-worth, perhaps—it still involves opposing forces struggling for supremacy.

What Is Conflict in Writing?

Conflict can come in many forms. Conflict in a story can be a physical fistfight or a passive-aggressive war of words. All that is required for conflict is a manifestation of disagreement or incompatibility between a character and something else. Characters can be in conflict with other characters, with natural forces, or with society at large.

Another type of conflict is internal conflict. Conflict is one of the fundamental principles of narrative and creative writing. In order to write a story worth reading, you need characters whose point of view is in some way challenged and to whom bad things happen. Without conflict, you won’t have a narrative or any meaningful character arc.

4 Types of Conflict and Tips for Using Them in Your Writing

The kind of conflict you use depends on what your plot and subplots are centered around and what your main character wants and needs. New plot points generally introduce conflict or advance existing conflict. Here are some types of conflict to employ in your writing and a few tips about when and how you migh

Person vs. self: An internal conflict is a kind of conflict that only manifests within a character’s head. Though we may see this conflict dramatized through narration or dialogue, or play out in the protagonist’s actions, it is an internal struggle within a character.

Person vs. person: The simplest and most common form of external conflict is when two characters are in conflict with each other. The first stories we are told as kids generally have a clear good guy and bad guy. These stories are early introductions to person vs. person conflict. Person vs. person conflicts are very common, and it’s rare to find a narrative without an interpersonal conflict present at some point in the story.

Person vs. nature: Conflict between a person and forces of nature is a good example of external struggle that can raise the stakes in a story. Some notable stories that included conflict between a person and a natural force include The Old Man and The Sea by Ernest Hemingway and Robinson Crusoe by Daniel Defoe. Consider using person vs. nature conflict if you’re interested in writing a story with one main character and few, if any, supporting characters.

Person vs. society: Conflict between a person and society at large is a type of conflict often found in science fiction. Some notable examples of this type of conflict are found in The Handmaid’s Tale and The Hunger Games series. In The Hunger Games, Katniss Everdeen finds herself contending with a dystopian and oppressive United States government that pits citizen against citizen in order to keep dissent down and quell rebellion. If you’re interested in science fiction or narratives about social justice, you might want to consider exploring conflicts that pit an individual character against society at large.

The entirely scientific Circle Diagram, explaining the principles behind TCF Paradigm of Misunderstandings(TM)

🧐

How to Write Characters With Romantic Chemistry

Writing great chemistry can be challenging. If you’re not super inspired, sometimes the connection between your characters feels like it’s missing something.

Here are a few steps you can consider when you want to write some steamy romantic chemistry and can’t figure out what’s blocking your creativity.

1. Give the Love a Name

Tropes have a bad reputation, but they can be excellent tools when you’re planning or daydreaming about a story. Giving the romance a name also assigns a purpose, which takes care of half the hard plotting work.

You can always read about love tropes to get inspired and think about which might apply to the characters or plot points you have in mind, like:

Friends to lovers

Enemies to lovers

First love

The love triangle

Stuck together

Forbidden love

Multiple chance love

Fake lovers turned soulmates

There are tooooons of other tropes in the link above, but you get the idea. Name the love you’re writing about and it will feel more concrete in your brain.

2. Develop Your Characters

You should always spend time developing your characters individually, but it’s easy to skip this part. You might jump into writing the story because you have a scene idea. Then the romance feels flat.

The good news is you can always go back and make your characters more real. Give them each their own Word or Google doc and use character templates or questions to develop them. 

You should remember to do this for every character involved in the relationship as well. Sometimes love happens between two people who live nearby and other times it happens by:

Being in a throuple

Being in a polyamorous relationship

Being the only one in love (the other person never finds out or doesn’t feel it back, ever)

There are so many other ways to experience love too. Don’t leave out anyone involved in the developing relationship or writing your story will feel like driving a car with only three inflated tires.

3. Give the Conversations Stakes

Whenever your characters get to talk, what’s at risk? This doesn’t have to always be something life changing or scary. Sometimes it might be one character risking how the other perceives them by revealing an interest or new fact about themselves.

What’s developing in each conversation? What’s being said through their body language? Are they learning if they share the same sense of humor or value the same foundational beliefs? Real-life conversations don’t always have a point, but they do in romantic stories. 

4. Remember Body Language

Body language begins long before things get sexy between your characers (if they ever do). It’s their fingertips touching under the table, the missed glance at the bus stop, the casual shoulder bump while walking down the street.

It’s flushed cheeks, a jealous heart skipping a beat, being tongue tied because one character can’t admit their feelings yet.

If a scene or conversation feels lacking, analyze what your characters are saying through their body language. It could be the thing your scene is missing.

5. Add a Few Flaws

No love story is perfect, but that doesn’t mean your characters have to experience earth shattering pain either.

Make one laugh so hard that they snort and feel embarrassed so the other can say how much they love that person’s laugh. Make miscommunication happen so they can make up or take a break. 

People grow through their flaws and mistakes. Relationships get stronger or weaker when they learn things that are different about them or that they don’t like about each other. 

6. Create Intellectual Moments

When you’re getting to know someone, you bond over the things you’re both interested in. That’s also a key part of falling in love. Have your characters fall in intellectual love by sharing those activities, talking about their favorite subjects, or raving over their passions. They could even teach each other through this moment, which could make them fall harder in love.

7. Put Them in Public Moments

You learn a lot about someone when they’re around friends, acquaintances, and strangers. The chemistry between your characters may fall flat if they’re only ever around each other.

Write scenes so they’re around more people and get to learn who they are in public. They’ll learn crucial factors like the other person’s ambition, shyness, humor, confidence, and if they’re a social butterfly or wallflower.

Will those moments make your characters be proud to stand next to each other or will it reveal something that makes them second guess everything?

8. Use Your Senses

And of course, you can never forget to use sensory details when describing the physical reaction of chemistry. Whether they’re sharing a glance or jumping into bed, the reader feels the intensity of the moment through their five senses—taste, touch, sight, sound, and smell. 

Characters also don’t have to have all five senses to be the protagonist or love interest in a romantic story. The number isn’t important—it’s how you use the ways your character interacts with the world. 

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Anyone can write great romantic chemistry by structuring their love story with essential elements like these. Read more romance books or short stories too! You’ll learn as you read and write future relationships more effortlessly.

DSMP streams divided in months

these don't include every stream (not just cause they're wips) since some don't have a date. meaning those could not be added in these month playlists, but they are in these two. for some others i could try and guess

if you know the right dates, let me know

2020

april

may

june

july - [LORE]

august - [LORE]

september - [LORE]

october - [LORE]

november - [LORE]

december - [LORE]

2021

january - [LORE]

february - [LORE]

march - [LORE]

april - [LORE]

may - [LORE]

june - [LORE]

july - [LORE] (lore playlist doesn't exist yet)

august - [LORE]

september - [LORE]

october - [LORE] (no lore playlist yet)

november - [LORE]

december - [LORE]

2022

january - [LORE]

february - [LORE]

march - [LORE]

april - [LORE]

may - [LORE] (no playlists yet)

june - [LORE]

july - [LORE] (no playlists yet)

august - [LORE]

september - [LORE]

october - [LORE]

november - [LORE]

december - [LORE]

post finale

any stream from the month after the last lore stream, meaning the Syndicate finale in december 2022

right now, the title says 2023, but i know Eret and Sam have briefly joined the server in 2024. the title will change to fit the years, but i have to find them first

and that's it! if you use these playlists or send them to others, can i ask for a reblog so i know people are finding them useful?👉👈