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sharkfinx · 1 year

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< cont’d | @tentaiiled >

It was refreshing to see someone’s emotions in their rawest form. No having to guess what they meant by grunts or faces. What a delight. Tobi energic way to be was greatly appreciated. He never heard of someone being that worried or even missing their partner like that. Adorable indeed. He listened to the loud sobbing with only a few chuckles as answer, cleaning his lips as he finished the rest of the fishcake with a single bite. “There, there…” His right hand searches for him, touching the other’s arm with gentle supporting pats. “Your senpai will come back soon. I’m certain, nee.” “Doubt it. It’s pretty common for partners to die. That’s why most of us don’t get too attached..... Deidara-san is sooo lucky to have such a thoughtful partner.” The luckiest of all of them was probably Kakuzu, he thought. Having an immortal coworker would surely be nice. Leaning in a more relaxed way on the chair, Kisame just enjoyed the fresh air of the mountain and the peacefulness that was there. Not being able to see—Tobi sudden scream made Kisame jumpy as his hand automatically reached for Samehada’s holder. Letting it go as soon he continued talking; breaking into a laugh. “KEekEkeke! Aren’t you a energic guy, Tobi-san. Of course! Let’s take some for our trip, nee?” Only if the fishcakes lasted long enough so they could bring some for Deidara too. “As long as you don’t run away from Akatsuki itself. There’s no trouble… you know that right? The only way you’re leaving is to die....but between us;”

“—I could turn a blind eye in your case; as an act of friendship, nee. Tobi san... do you want to run away from Akatsuki?” Kisame simply keep on his plain grin. He just loved to instigate certain things; keep things in check wherever the consequences would bring. Would he had to hunt the newbie? Who knows.

#| ic #tentaiiled | Obito #| verse; pre war — Akatsuki #// this is so funny kisame testing literally his boss HUAOSDHAOSHDOAH #// KISAME loves to instigate betrayal to keep things in check lol #// kisame just dam deidara sure is lucky while deidara probably be screaming in agony and anger #// ALSO SORRY FOR THE LONGR EPLY! please don't need to do the same i just end up writting too much sometimes #// do not match me #// give me two lines only

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luimagines · 1 year

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Sky still doesn’t know what a horse is

I mean, technically, he wouldn't really be a horse. He'd be a Pegasus.

So he's just wondering why no one else has wings.

#pinky eplies #enno you traitor #love you

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massiveladywerewolf · 2 months

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https://www.tompkinsins.com/blog/the-importance-of-employee-practice-liability-insurance-safeguarding-your-business

#insurance #epli

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spotlightinsuranceagency · 2 months

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https://spotlightins.com/blog/epli-vs-professional-liability-insurance-how-are-they-different/

#epli coverage #professional liability insurance

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jarcherinsurance · 5 months

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#Employment Practices Liability Insurance #Employment Liability Insurance #EPLI

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graystoneinsurance · 6 months

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#epli #epli limits

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meble-online · 1 year

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UMMO - marce wieloletniego doświadczenia w produkcji mebli i oświetlenia

Jak wiemy, marka UMMO w swojej ofercie ma nie tylko doskonałe oświetlenie, ale też interesujące meble, które osiągają najwyższy poziom estetyki i wykonania. Jednym z ich najbardziej wyjątkowych produktów jest EPLI mini 3L potrójna sufitowa lampa wisząca, która pozwala na przygotowanie ciekawego dekoracyjnego oświetlenia. Ten lamp jest wykonany z materiałów najwyższej jakości, do jego produkcji użyto wytrzymałego metalu, który został pokryty farbą proszkową. UMMO to marka z wieloletnim doświadczeniem, która specjalizuje się w produkcji mebli i oświetlenia od wielu lat. Jej produkty opierają się na najnowszych technologii, ale to przede wszystkim klasyka i tradycja są widoczne w dzisiejszych projektach marki. To połączenie sprawia, że wszystkie produkty są wyjątkowe i trwałe, a każdy klient docenia ich jakość. EPLI mini 3L potrójna sufitowa lampa wisząca to jeden z najbardziej interesujących produktów tej marki. Dzięki trzem szklanym kloszom możemy uzyskać interesujący efekt oświetleniowy w każdym wnętrzu. Ponieważ są one otwarte, światło jest rozproszone w całym pomieszczeniu. Takie oświetlenie nada wnętrzu niepowtarzalny charakter. Jest to idealna propozycja dla tych, którzy szukają oryginalnego wykończenia wnętrza. Marka UMMO tworzy doskonałe produkty, które powstają dzięki połączeniu najnowocześniejszych technologii i tradycyjnych metod rzemiosła. Uważnie dobierane materiały i precyzyjna praca zapewniają wyjątkową trwałość i jakość produktów. EPLI mini 3L potrójna sufitowa lampa wisząca idealnie wpisuje się w standardy firmy UMMO. Jest to produkt, który dzięki swojej elegancji i wyjątkowości może stać się wizytówką każdego wnętrza. Ze względu na swoją niezawodność oraz trwałość jest ona idealnym wyborem dla osób, które szukają produktu o najwyższej jakości.

#UMMO #marka #oświetlenie #meble #EPLI mini 3L potrójna sufitowa lampa wisząca #materiały najwyższej jakości #wytrzymały metal #farba proszkowa #technologia #klasyka #tradycja #wyjątkowe #trwałość #jakość #elegancja #wizytówka #niezawodność

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circularsidewalks · 8 months

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Jodi: Because I suck Jodi: the sexual part for me was an unevolved way of trying to be more loved. I knew you weren’t in love with me. I knew you cared, but that it wasn’t that kind of love. So when we made love, I was able to actually convince myself, yes lie to myself. It really felt for that space of time that it was something bigger and better. But that’s the intoxication felt from sex. And you made it so good. You became another person. It’s like you nearly worshipped me. I felt sooo so so loved when we did that. It became absolutely addicting. Jodi: But you weren’t just a piece of meat. Jodi: Either way, that doesn’t speak for the way I’ve treated you outside of your bedroom. Travis: no ill admit you were noble in the sack Travis: but its because it seved you to be Jodi: I know. The better I was, the more you wanted me, and the more you wanted me, the more we got to be together. Jodi: I was a whore for you because I was whore for that feeling. Jodi: I was whore in general and I still am. Travis: and you like being a whoe Travis: whore Travis: unless you could get something sexual from me Travis: but outside of that nothing else about is worth anything to you Travis: and how do I know Travis: because your actions speak it loud and clear Travis: and you have nothing to say in eply Jodi: Everything I feel moved to say wouldn’t hold an ounce of weight with you.

Gmail chat between Jodi and Travis, May 26th, 2008

#jodi arias #travis alexander

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luzxii-selfship · 4 months

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on a bad day or during a really stressful time, do you ever let your fictional other comfort you? Maybe they'd take you through breathing exercises, or just give that that needed support. Know your f/o's care for you de eply, no matter what you're going through. They know you deserve love and are more than willing to give it.

#f/o #selfship #selfship community #f/o community #f/o imagines #f/o comfort #mental health #support #fictional other #comfort

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bonesandthebees · 1 month

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Hi Bee!

I really admire your work and I'm currently attempting to write my own fic, and I'd love to have some advice on writing stuff.

1) Do you have any tips for writing the beginning of a fic? I cannot figure out how to start writing with a decent sentence. It all falls apart when my fingers go on the keyboard.

2) Do you have any tips for pacing/plot/outlining? I still have barely figured out what pacing is, because I cannot tell when authors are like "oh I don't like this because I rushed the pacing". I literally can't tell most of the time, unless there is not any space to breathe between things that happen.

3) Do you have tips for writing surroundings and the parts of the paragraph that aren't dialogue? Like. How do I naturally fit the description of the area into the fic? And how do I naturally fit extra commentary into a paragraph that has dialogue in it, especially when it isn't the pov character's dialogue?

Again, adore your writing. I feel kind of awkward since I've never done an ask before; idk if there's some kind of etiquette.

Hope you're doing well!

-Royal :)

hi sorry it's taken me a bit to answer this one! I'm more than happy to give some advice!

okay so first off, writing the first line of a fic is borderline torture sometimes. it's so fucking hard. to me though it's kind of like jumping into a cold pool. you can stare at the water thinking about how cold it's going to be and how unsure you are, but then at some point you have to bend your legs and jump before you can overthink it or else you'll never do it. you have to just put something down for the first line.

one method I like employing when I'm really struggling is starting with a line of dialogue. it instantly throws the reader into the scene as they have to try and find out who is talking, what they are talking about, and where everyone is. an example where I used this is in the stars and their children, which opens with a line from tommy "Hey Wil, can you hand me the epli?" this tells us multiple things right off the bat. it establishes a character present in the scene (Wil) and that there's something different about this world from ours (epli—it makes the reader want to know what it is and why it's being handed to the character speaking)

other times I try to either start with a line that describes the setting ("The streets were crowded at this time of day." - everything else has gone wrong), or start with a line that describes the emotions of the pov character ("Lessons were the most unbearable in the afternoon." - under the hanging rose). basically, you're trying to find a way to throw the reader into the scene in one line. it's difficult, but try any of those angles and hopefully you'll think of something that fits. but again, it's jumping into a cold pool. you just have to put something down so you can start. you can always go back and change it later

okay putting the other two under a read more bc it got long

2. okay now pacing. that's a bit more difficult to help with because a lot of pacing is just getting a feel for it. one way is to just think about it logically. say you have two characters that start as strangers and you want to get them to be best friends. you can show them meeting for the first time, but then you often have to show them bonding before they can reach best friend status. there's pacing here both in the literal world of the story, but also in the text itself. you don't want to write them hanging out for a few hours and suddenly decide they're best friends (although ofc there are exceptions to this like if they're little kids bc, well, that is a thing little kids do where they'll declare a kid they just met their best friend), nor do you want to write them meeting for the first time, write a line saying "they hung out every day for the next three weeks until they were best friends" and then just act as though they're besties (again, there are exceptions to this in specific cases). it just feels weird yknow? It doesn't get the reader invested in this relationship because it doesn't feel like it's been earned. it's a similar thing with plot beats. you have to make it feel natural both in the world of the story itself, but also the timing with which you tell the story. like I said though, pacing is really something you just get the hang of naturally with practice. reading published novels will help as well because it'll help you get a sense of what good pacing feels like.

3. ohhhh you've hit a specific issue I had a lot when I was younger. when you have a dialogue scene going on there's a lot of ways you can balance the text outside the dialogue. ofc if the dialogue is going by at rapid speed, you can straight up just do the dialogue lines and you don't even have to specify who's talking if it's clear within the text

Ex:

"You can't come to my nuclear reactor, Tommy," Tubbo sighed.

Tommy scowled. "What the fuck? Why not?"

"Knowing you you'd find a way to cause a nuclear meltdown."

"Would not."

"Would to."

"Would not."

"Would to!"

"So what, you're a bitch who can't handle a little radiation?"

"Oh for fuck's sake-"

see how after the first two lines of dialogue where I established who is talking in which order, I stop using the tags all together? it's still clear who is talking because the dialogue is ping ponging back and forth. it's a fast-paced conversation, so cutting out the tags helps that effect.

but of course this is only the case in a few instances. most of the time, you do need lines outside dialogue not only to establish who is talking, but also to keep the characters present in the scene itself.

you have several options for what to include outside your dialogue. one of my go to's is always character actions.

"Don't you have one of those swimming pools you keep the nuclear shit in?" Tommy asked, leaning against the wall.

Tubbo pinched the bridge of his nose. "Yes but before you ask, no, you can't go swimming in it."

there we include the action of tommy leaning against a wall after he asks the question, which is followed by tubbo pinching the bridge of his nose. this lets the reader see exactly what each character is doing, which can also establish the emotions each character is feeling without saying them outright. tommy is comfortable enough with tubbo to annoy him with his questions, which we see by him casually leaning against the wall. tubbo, meanwhile, is annoyed just like tommy wants, which we see by him pinching the bridge of his nose.

characters sitting down, standing up, wringing their hands in front of them, folding their arms over their chest, shrugging, curling their hands into fists, etc. are all examples of character actions you can include to give the reader the ability to picture the scene more accurately

then of course you have thought process and scenery description you can include as well. thought process is just including what your pov character is thinking as the conversation progresses.

"Yes but before you ask, no, you can't go swimming in it."

Tommy huffed and folded his arms over his chest. Tubbo was so fucking boring these days with his 'safety rules'. He'd nearly been nuked before and was fine! A little radiation wasn't going to hurt him.

that right there is a glimpse into what's going on in tommy's head at that moment. he's frustrated with his friend because he thinks he'd be fine swimming in the nuclear pool. it gives us more insight into the pov character and how they're reacting to the conversation at hand.

then for scenery description:

Silence fell over them as Tommy glared at Tubbo. Tubbo glared back, refusing to budge. Around them, the snow coating the ground glittered in the afternoon sunlight. Clouds of breath puffed in front of Tommy's face. An icy breeze wound between the buildings, making goosebumps rise along his arms. He tugged his sleeves down, still not breaking eye contact with his friend.

the conversation falls silent for a moment, so we take a moment to step back from the two characters. we look at the setting around us, which emphasizes the pause in dialogue and makes it feel quiet even to us as the readers. you don't have to restrict your scenery description to moments where a conversation takes a pause, but taking a step back gives a sense of a 'silence' to the reader even if it's brief. another example of this could be,

"Don't bullshit me, Tubbo. Why won't you let me see it?" Tommy asked after several long beats.

Clenching his jaw, Tubbo's eyes flickered to the ground. The snow beneath their boots was muddied. Tommy spotted a dead worm frozen against the hard earth.

Then, Tommy understood.

"You don't trust me anymore."

now let's see this a different way

"Don't bullshit me, Tubbo. Why won't you let me see it?" Tommy asked after several long beats. "You don't trust me anymore."

see how without all that extra description the pause feels much shorter? and with that shorter pause the weight of Tommy's next sentence loses it's emotional impact?

if you want to add scenery description to a dialogue exchange, imagine it like it's a movie. you have two characters that are talking, and suddenly the camera pans away from them to look at the setting around them. why does it do that? what effect does it have on the scene playing out? your words are the camera zooming in and out on the characters. there are a lot of ways you can use this 'camera' to change the rhythm/flow of a scene. you just have to play around with it to figure out how to use it

I hope that's helpful!

#bones writes #ask #royallygray #also sorry for the half-assed clingyduo scene that's not from a fic or anything i just came up with that on the spot while writing this

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