Anyone Have The Gifs Of The Chilean Goalkeeper Christiane Endler Lifting Two Of Her Teammates With Ease.

Anyone have the gif’s of the Chilean goalkeeper Christiane Endler lifting two of her teammates with ease.

I need them for um reasons lol

they had us in the first half, not gonna lie.

fuck dude. end of an era. 2020 has taken everything from us

YES

YEEEEESSSSS

YEEEEEEEEEEEEEEEESSSSSSSSSSS

Whumptober 2020 No. 20 — Lost

Masterlist Word count: ~2090 Universe: Twilight Princess; sequel to “No. 1 — Waking Up Restrained” Pairings: Zelink Rating: K Themes: Self doubt, guilt, fear

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Link’s recovery was slow going. He regained himself in pieces, in long, punishing battles fought in his own mind. Memories of the missing four months were scattered and incomplete, trickling back in dreams or disconcerting flashes that he couldn’t make sense of. But sometimes his lack of progress seemed less a consequence of his spotty memory, and more a result of what he could remember.

After everything he had done under the Gerudos’ influence, he found it impossible to trust himself, even when his mind was at its most clear.

Zelda was eternally patient, comforting him through the turmoil and fortifying him through spells of despair. She tried to keep him busy, presenting the reports filed by the captain serving in his stead for his inspection and whatever else would fall under his purview. More than once, he came back to himself to find her asleep at his bedside. He couldn’t account for it at all. Surely she knew better than to feel guilty over sending him on that mission, or to suppose that he expected preferential treatment.

But then, watching the first rays of sun filter through the curtains one morning, he was struck with the fleeting impression of silken hair slipping through his fingertips, of the pleasant give of soft lips under his, and all at once it made more sense.

He sunk his head into his hands and tried to call up the rest, tried to remember himself somewhere in the midst of it. But it was so hard to be sure of anything, even himself. Especially himself.

By the time Zelda called on him, he had been pacing in a fog for an hour. He tried not to stiffen when she smiled at him, tried not to stare for too long as she crossed the room, left a parcel on his nightstand, and opened the curtains. But suddenly he couldn’t take his eyes off her.

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So You Want To Make a Character..

I’ve got a few generators you can use.

Need some clothes?

Try Here Here or Here Definitely here Steam punk clothing Char Style preference Dress

Need an Appearance idea?

Humanoid generator? check Non-Humanoid? Got that too and this and maybe this Need Monsterpeople?  I’ve got you. Maybe you need Cats?

Need some details and shit like that?

Bam Backgrounds and stuff? yep Personality. you need that shit Need something fandom related? World-building? location? got ya City generator hell yeah make your own god damn laws Oh shit someone died Landscape. CHAR DEVELOP QUESTION GEN Profile Thingy Have some dates Quirks

You thought I was done? Nope. Motha. Fuckin. Names.

So many fuckin names MOTHERLOAD OF NAMES

Plant Names Magic Book title

Just search ur ass up some names man

Items. Yeah. You heard me.

Medicine? got it Items out the ass more items wow

Other shit.

Wow Yep Plots More writing stuff This site has everything so fucking go for it Need AUs? How the shit did these two meet? Fanfic plots. you bet your ass. (tag me in the shit u write i wanna see what you get) What does it do thing (you come up with a better name for this one. fuckin fight me.

You bet your ass I will continue to update this. If you’ve got something I should add to this hmu. Now, go forth! Make characters and live yo life. UPDATE: Added more shit everywhere.

Hi, I'm a HUGE fan of you and your work! I think my favourite so far is Selfless. You constructed everything perfectly with his identity issue to his addiction. As a writer, if I may ask, how do you know just how you can write around intercations and actions without it growing tiresome? I always end up too straightforward or too redundant so I was hoping for some pointers if it's something you learned. And another thing is how you always find the words and metaphors to explain something. I always find myself unable to explain the feelings and sensations or just plucking it from another story somewhere. Is it because of experience, something you learned, or does it just come to you eventually? Sorry for all the questions. I'd be really happy if you could provide me with some pointers or stuff you learned because your writing truly boggles my mind more than I honestly wished it would lol. Have a nice dayy!!

YOU ARE SO INCREDIBLY KIND! 😭 Thank you! I'm so glad you liked Selfless. And someone liking my stuff enough to ask for WRITING ADVICE? 🤯😍😭 I'm a wreck over here.

I know every writer is different and what has worked well for me might be extremely unhelpful to someone else, but I'll try my best!

If a scene feels tiresome it might be because it lacks purpose. Without a clear direction to move in, it's easy to write yourself in circles. Having the foundations of your scene clearly in mind, like what your characters are feeling going into it, what they will learn/how their opinions or attitude will shift as a result of this exchange, and the end goal that will mark the end of the scene, can help keep the pace appropriately brisk and the interaction meaningful. As a "discovery writer," I often find myself asking those questions halfway into a scene (or even after it's written), which can lead to a lot of editing or even just erasing paragraphs that aren't contributing. If you can answer those questions before you get started, that's great; but if you're like me and have characters that often surprise you with their reactions, there's nothing wrong with editing or rewriting the scene to include what you've learned along the way.  

If a scene feels too straightforward it might help to inject a little subtlety. Showing how someone is feeling rather than telling can breathe a lot of life into a paragraph. (Not "She felt happy," but "She smiled so hard her eyes crinkled.") Introducing a third unrelated element for your character's feeling to manifest towards is also a neat trick I've been playing with recently that can add another layer of depth. (She bought a pie she's excited to eat when she gets home, but after something disappointing happens, she no longer wants to eat the pie.)  

If a scene feels redundant it might help to trust your audience more. Writing is among the most participatory art forms in that your reader's imagination is going to supply a lot of what you don't say. Over-explaining not only leads to rambling paragraphs but can also inhibit your storytelling. Let your reader infer things. Leave them breadcrumbs in your characters actions (drifting eyes, twitching fingers) or in the unsaid (like in Selfless, when Zelda says, "The moon looks beautiful tonight," and Link scoffs, "You think so?"). On the sentence level, less is usually more. Because I'm wordy, I can almost always cut a good third of the words in my sentence with no impact on clarity. Especially look out for overused whisker words (however, still, and, but, yet, etc) or qualifiers that aren't adding anything ("She smiled at him" vs "She smiled").  

That brings us to metaphors, which I struggle with immensely so I'm both flattered and shocked that you like mine. 😂 Of course skills inevitably improve with practice and I think aging in general helps (more life experiences = more to pull from), but two things I consciously try to work in are character perspective and mouthfeel. Character perspective: Dryad!Link is a tree, so he sees the world through the lens of nature, plants, the seasons, and the like, so as my narrative character his metaphors will likely pull from those sources. Huntsman!Link is a hunter, so he's more likely to think in terms of snares, traps, weapons, prey animals, stealth, a kill, and so on. Obviously this works best with a close narrative character, but it's a good trick for adding cohesion with the environment of the scene or story as well. Mouthfeel: Aligning the emotional undercurrent of the metaphor with the image usually works better for me than worrying so much about literal parallelism. Do I want this metaphor to feel melancholic, bright, hopeful, uncomfortable, creepy? Really clinging to that and running with it can lead to some unexpected (and sometimes illogical) places. I once wrote a line, "slipping through front-tooth gaps in time like pond water through soft-cupped hands," and my first inclination was to erase it because I thought "front-tooth gaps in time" didn't make any sense. But it felt like what I wanted to say, so I left it, and now it's one of my favorite little lines I've ever written. So. Don't be afraid to run with the feeling and see where it leads!

WOW THAT IS A BOOK 😂 Sorry for rambling, but apparently I like to talk craft! 🤪 If you ever want some more personalized feedback feel free to send me a DM! Thank you so much for the ask! 🥰

The Narrator wildly wheezing and cackling is something I didn’t know I needed in my life until now