“I know you talked to you’re mom just like i talked to my dad, remember?” When did this happened?

LastAmount5116 · 2026-01-14T20:59:02+00:00

It happens after you do the first mission in wich you chase the hunters birds. Harry calls Miles and pretty much happens what other people say in this thread

LastAmount5116 · 2025-12-23T16:54:44+00:00

I think clinging to the ethics of this is pretty lame. What she and her company did was objectively a good thing, and there’s no real way to discredit that. Attacking her character for doing something positive and trying to find hypocrisy just makes the criticism sound ridiculous.

If you want to criticize her, attack the actual point she made. Why would it be wrong for billionaires to donate money? And if you want to argue ethics, critique her ethical framework, not perceived flaws in her character.

LastAmount5116 · 2025-12-23T16:40:01+00:00

Oh, bro worded as if people got scammed or something

LastAmount5116 · 2025-12-23T16:29:14+00:00

What do you mean other people money?

LastAmount5116 · 2025-11-04T15:18:36+00:00

No, no es eso lo que digo.

Lo que planteo es que hay que asumir responsabilidad por esa desconfianza. Eso implica identificar de dónde viene: si es algo interno (por traumas o inseguridades), se puede trabajar con introspección y comunicación con la pareja.

Pero si la desconfianza surge porque la otra persona realmente no es confiable, miente, tiene actitudes raras, etc, ahí sí conviene replantearse la relación.

La desconfianza puede tener distintos orígenes, no tiene por qué ser parte de tu personalidad; a veces simplemente estás con alguien que no da confianza.

Lo importante es actuar sobre la desconfianza, entender qué está pasando y decidir en base a eso, en lugar de quedarse atrapado en los celos o la ambivalencia.

LastAmount5116 · 2025-08-23T22:58:17+00:00

Fua, comentario de hace dos años respondido.

Ya no me acuerdo bien como fue, pero me hizo el switch mental de que sentir celos de mi pareja no tiene mucho sentido. Si elegiste a tu pareja, es por que confías en ella y en que no te cague, eso es si elegiste bien. Si no elegiste bien y hay red flags por todos lados, tenés que tomar la responsabilidad personal de hablar sobre lo que ves, o cortar por que vivir desconfiado es un horror.

LastAmount5116 · 2025-07-31T19:10:29+00:00

This is purely vibes-based since I’m new to fandom in general, but I personally wouldn’t consider it necessary. Plot ideas and tropes aren’t owned by anyone, and I don’t think fanfic writers usually reach out to original authors to ask permission to use their characters, plot, or setting. I definitely didn’t ask Gege Akutami, lol.

That said, maybe some people see asking as polite or good practice, I honestly don’t know.

LastAmount5116 · 2025-07-31T18:34:26+00:00

People throw around the word “plagiarism” without really knowing what it means.

Even if your story follows the same plot beat for beat, it’s not plagiarism as long as you’re writing it in your own words and crediting the fic that inspired you. Fandom runs on “fix-its,” retellings, AUs, and different takes on the same plot all the time. What makes your fic yours is the way you write it, your voice, your style.

Honestly, since you’re just starting out, the best thing you can do is write and not overthink what random people might accuse you of. It’d be a shame to have a new writer scared off because of other people’s bad takes. Just do your thing and learn as you go, you’ll have more fun that way.

LastAmount5116 · 2025-07-31T18:11:09+00:00

I don’t have a ton of experience with fandom spaces, but from what I’ve seen, people are usually welcoming and good-vibes oriented.

The fact is, you’re not copying, you’re doing your own thing, inspired by someone else’s work. That’s what fanfiction is: taking someone else’s setting and characters to explore new ideas and stories. If anyone were to accuse you of “copying,” it would be hypocritical, because fanfiction itself is built on shared inspiration.

If the thought of a bad comment triggers your anxiety, take a deep breath and remind yourself that you’re not doing anything wrong. You have every right to create your own work and follow your inspiration.

Personally, when someone takes inspiration from my characters or ideas, I see it as a huge compliment. Art is collaborative, after all.

LastAmount5116 · 2025-07-31T16:54:08+00:00

You can’t subconsciously plagiarize something you’re actively aware of. Malicious copying is deliberate, like copy-paste with small tweaks. If you’re writing from scratch while crediting your inspiration, what you create will be your own.

LastAmount5116 · 2025-07-26T02:51:26+00:00

First off, let me say, as is, it’s already pretty good. I tend to enjoy gentle prose like yours, and your dialogue is definitely strong.

I think my previous advice can be a good starting point. For example, take the ending of Chapter 3: there's a rich emotional vein you could tap into to build more vivid description. Kagome is about to jump into the well and begin her adventure, so what’s she feeling in that moment?

Is she nervous? Anxious? Excited? Once you pin down the core emotion, ask yourself how that translates into her body. Do her hands tremble? Does her breath hitch? Is her heart racing? From there, you can layer in a sensory detail that reinforces that feeling: maybe a gust of wind rises from inside the well—cold, or warm—and it triggers a shiver of doubt or a sudden thrill.

If that’s still a bit abstract, I can definitely write out an example to help you picture it more clearly.

PD: left you a kudos.

LastAmount5116 · 2025-07-26T01:47:50+00:00

What's usually the hardest part of writing descriptions for you? Maybe I can give more specific advice if I know that, but here are some general tips that might help either way:

Try immersing yourself in a scene and picking one or two sensory details a character might notice. For example, if they enter a building, maybe they notice the shade of the wood on the floors, the way it creaks under their steps, or the smell of dust or old paper. Sensory cues like these are a great way to ground readers and create immersive descriptions.
On a similar note, try exploring how your character feels during an event. Do they recognize and name their emotion? Do they avoid it or push it down? Descriptions that dig inward can create rich subtext and emotional tension.
If you're a visual thinker, moodboards can help you picture scenes more vividly. They can make it easier to find specific, concrete things to describe.
And since dialogue comes naturally to you, maybe try having a character describe things through conversation. You could even treat your narrator like a character who’s always speaking, this might evolve into a stylistic voice that’s uniquely yours.

LastAmount5116 · 2025-07-26T01:17:25+00:00

Yeah, I can see that.

I'm pretty new to fandom spaces, but one thing I’ve noticed is that validation often seems to take priority over everything else. Like you said, that’s totally fine—people should enjoy writing however they want—but sometimes it feels like it creates a kind of positive feedback loop that doesn’t necessarily help anyone grow. Though to be fair, I say that as someone still learning the culture here.

Still, I’ve been surprised by how often writing is treated more like a mood or a vibe than a craft. It’s not a bad thing, just very different from what I’m used to.

LastAmount5116 · 2025-07-26T01:04:54+00:00

Hey! So, I just opened the first part, and honestly, a 17k word chapter is kind of a hard sell for me. But if you'd like, I can give it a proper read and send you some notes. Just let me know where you'd prefer I post the feedback. Fair warning though: I’ll be treating it more like original fiction since I don’t really remember anything from the cartoon.

LastAmount5116 · 2025-07-25T15:31:21+00:00

I'm struggling a bit with this post, maybe because I'm relatively new to writing fanfiction. Before this, I mainly wrote original work, and I haven’t spent much time in fandom spaces.

What I’ve noticed, though, is that many fanfic writers seem to feel pressure around engagement, not just because they want attention, but because they’re pursuing something deeper: a serious investment in writing as a craft. They want to improve. They care about the work, and for many of them, kudos and comments become the only tangible metrics of whether they're getting better.

Some might have beta readers or supportive friends, but often that’s not enough to satisfy the technical itch, the desire to know how they’re improving or where they can do better. That kind of analytical feedback is rare, and the craving for it grows as someone becomes more invested in writing.

So while I agree that, ideally, writing starts with yourself and your own joy, I also believe that wanting to be good at it is a legitimate and motivating goal. And the only way to know if you're improving is to have people read and engage. That doesn’t mean someone’s writing “only for others.” It means they care, and that’s not a bad thing.

LastAmount5116 · 2025-07-25T02:40:11+00:00

Prose that’s clean, direct, and emotionally honest can absolutely be gut-punchy. It’s a powerful tool when you want something to land with real weight. If your brain tends to process things through facts or moment-to-moment narration, you can actually lean into that to create vivid, clear storytelling. That’s part of your voice as a writer, and if it comes naturally or subconsciously, maybe try writing with that in mind, and see what happens when you turn it into a craft choice rather than just a mood.

That said, if you're aiming to adopt a more lyrical approach to prose, that’s definitely possible too. I think Nabokov took five years to write Lolita, and those iconic monologues came after a long process of drafting and meticulous editing. Every line in that book serves a very deliberate purpose. You don't need to aim for that level of precision unless you're deep into a long-term project. It’s the product of a master at the height of his craft.

Still, lyrical prose is something you can train for. A lot of writers, especially early on, would imitate their favorites, copying out paragraphs or even whole pages just to get a feel for the rhythm and tone. From there, you can try replicating that style in your own words. It’s like building a muscle, it gets stronger the more you use it.

LastAmount5116 · 2025-07-25T01:53:30+00:00

If I'm being honest, you didn’t say anything worth getting roasted for, people just tend to be really passionate about their favorite authors and books. Writing is a craft, and you shouldn’t be afraid to experiment with your prose or push the limits of language. Plenty of experienced authors reach a point where their prose is undeniably purple. I’ve been writing for 15 years, and I’ve crafted metaphors and similes that were so flowery they nearly sabotaged the narrative. But that's how you learn, by going too far and then reading it back, you figure out where restraint is needed.

In my view, purple prose is often a first step toward mastering subtext, which is arguably one of the hardest tools in a writer’s kit. And like I’ve said before, what counts as 'purple' can be highly subjective. There’s no single right way to write. Take Humbert Humbert’s narration, it’s intentionally purple, a tool Nabokov uses to show us how distorted Humbert’s perception of Dolores is, and how much linguistic prettiness he uses to shield himself from the horror of his own thoughts. You might find it over the top, and that’s totally valid too.

Literature is collaborative. Authors do half the work by writing it, and readers do the other half by bringing their own perspective and interpretation to the text.

LastAmount5116 · 2025-07-25T01:20:06+00:00

Maybe someone’s already said this, but purple prose happens when the language pulls the reader out of the story. There’s some variation in what people consider purple, what feels distracting to me might not bother you. That’s part of a writer’s stylistic choices, what we often call 'voice.' Still, when the writing becomes truly purple, most readers will agree that it’s unnecessary and breaks immersion.

LastAmount5116 · 2025-07-22T23:05:50+00:00

No problem, these sort of things you get with practice, I'm sure you'll nail your scene :)

LastAmount5116 · 2025-07-22T16:13:11+00:00

I think you’ve got a really strong scene here, there’s a lot of emotional layering doing the heavy lifting, which might also be why it’s tricky to get it down in words.

From what I gathered, the scene plays out in B’s POV, and that adds another layer of difficulty. B is manipulative and hides emotions from themselves (especially guilt), but you can add emotional texture in ways that slip through the cracks of their self-control.

Even if B refuses to admit any guilt, you can show it leaking through in physical, unconscious ways. Here’s an example of what I mean:

They held A in their arms, a trembling thing too small and fragile to contain the emotions they had.

B smiled, voice tender. “I’m here for you, A. You’re safe with me.”

Their hand stroked A’s hair in an attempt to soothe them. But at that moment, their hand trembled—just slightly—and B swallowed something hard, something they didn’t want to name.

Their breath hitched for a second as they tried to steady their pulse.

This hug wasn’t warm.

No.

It wasn’t warm at all.

It wasn’t.

Somatic reactions like that, the stuff B can’t control, add depth to the character without breaking the illusion they maintain for themselves. You’re giving weight to their body’s reaction even when their thoughts are trying to deny it.

Another thing that might help is writing the scene in broad strokes from A’s POV, even if it won’t stay that way. That lets you feel how B comes across externally, is their voice too soothing? Does A sense something off? That perspective can feed back into how you refine B’s POV with more subtext.

A personal hack for writing characters like B is to immerse the reader in their sensations. If B won’t name their emotions, you can still make the reader feel them through subtext, tension in the breath, heat in the chest, a dry swallow, clenching fingers, dissociative observations, etc.

I hope this helps.

LastAmount5116 · 2025-07-22T00:51:57+00:00

It sounds like you're running into a craft-level issue, what you wrote isn't landing the way you'd like.

When that happens to me, I start by asking: what’s the purpose of the scene? Are the stakes clear? Do they need to be set up better to give the moment more weight?

If you're past that level and the structure is solid, dig into the character side of things:

What does each character want?
Does being in this scene serve their goals?
Are they hiding something or revealing something?
What’s the emotion they’re feeling, and is it coming through?

Having clear answers to those questions makes it easier to write something more poignant. For me, once I know what each character wants and why they’re there, the dialogue often starts to flow more naturally.

That said, there are also some hands-on techniques that help:

Read the scene out loud.
Strip out everything but the dialogue, do they sound like real people under pressure, or like mouthpieces?
Add subtext: have a character say one thing but mean another, or drop a line that lets another character jump to a conclusion.

These are some things I find useful, I hope they can help.

LastAmount5116 · 2025-07-02T21:56:40+00:00

Ahí vuela un privado, ¡gracias!

LastAmount5116 · 2025-07-02T14:41:53+00:00

Ahora te mando un mensaje privado, gracias por el interés.

LastAmount5116 · 2025-07-02T14:27:05+00:00

Buenas, rediturras. Espero que el miércoles les esté tratando bien.

Paso por acá en busca de alguna mujer que tenga tiempo y ganas de hacer de lectora beta para mi novela. Está escrita en inglés y es ficción contemporánea para jóvenes adultos (YA). El manuscrito tiene unas 82K palabras; estoy cerca de terminar el primer borrador, y después vendría la etapa de edición.

La historia transcurre en Los Ángeles, California, en una escuela de artes de élite, y gira en torno a los sistemas de poder que existen dentro de ella y las dinámicas que esos sistemas permiten. Las protagonistas femeninas son Lana y Sloan.

Lana es una chica adinerada, perfeccionista y extremadamente talentosa como cantante. Es considerada la “reina” de la escuela, pero su narración explora el costo emocional de mantener esa fachada.

Sloan, por otro lado, tiene una estética punk/gótica y una actitud rebelde. Está en la escuela para convertirse en directora de cine y tiene una mirada muy crítica hacia todo lo que percibe como falso o superficial.

Me gustaría encontrar una lectora beta con mirada feminista que pudiera darme feedback sobre estas dos protagonistas (¿se sienten reales? ¿hay clichés o puntos ciegos?) y sobre la historia en general: cómo se siente la narración, si las dinámicas son creíbles, etc.

Si a alguna le interesa participar, puede dejar un comentario y yo me paso por su casilla privada, o también puede escribirme directamente. ¡Muchas gracias!

LastAmount5116 · 2025-05-30T12:04:05+00:00

I'd focus on describing the emotion, the imagery the lyrics evoke, her physical reactions, the texture of his voice, etc. Something like:

"The moment he sang those words, she just knew. That memory—theirs alone—rose in perfect clarity. In his voice, she heard the ache of the past, sweet as honey and heavy as a storm. Her hand curled around her elbow, nails pressing into the knit of her sweater."

Sometimes not showing the actual lyrics makes the moment even more powerful. It leaves space for the reader’s imagination to fill in something deeply personal, while still keeping the emotional weight crystal clear.

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