I’m allowing myself to do the occasional werewolf on werewolf scene in the present tense, because I think a really animal/predator pov should be intense and urgent and immediate, and because I think third person present tense is an acceptable level of weird pretentious artiste.
Dead leaves and dirt under her paws, moonlight, distant roar of cars, smell of deer, rabbits, possums. Scent of Milla, making Jesse’s chest constrict. Wordless fear and hunger. Hurtling into the woods, deeper, faster, panting.
but what I really wanna do is second person present tense, which even in short bursts, many people just flat out refuse to read.
you leap, jaw first, latch on with your teeth and slam your body against the deer. the deer goes sprawling and you tear into the throat before your paws are back on the ground. you bury your muzzle into the meat and the blood and the warmth. your teeth tear and you swallow chunks whole, almost choke fast, and it is mercy it is frenzy it is beautiful it is not enough.
flanks heaving, you rip yourself away from the meat and gasp for air, raising your head to the moon. blood saturates your fur; blood runs into your mouth. you shove your face back into the deer carcass, you pull skin off meat, elastic in your teeth before snapping and dangling from your jaws. flesh stretching like melted pizza cheese. cracking bones, throw them aside, chew on them later.
and all this pretentious poncy experimentation cuts into raw wordcount time, so I don’t let myself toy with it much.
writing style: author from the 1800s with a severe love of commas whose sentences last half a page
I came out here, to this point, to this place, hoping against all hope and despite signs and portends suggesting otherwise that I might, somehow, find myself having a pleasant experience, and yet here I stand, alone against the world, feeling assaulted, attacked on all fronts, knowing not my enemy’s name nor his face nor whether our battle is done.
I have a new icon! - I made it in Assembly, a vector art program for mobile platforms (maybe just Apple products? I’m not sure). It also allows you to export a video of your process!
Please keep in mind this was only the second thing I made in Assembly so forgive me if parts of this look a little silly 😛
*bangs fist against table* WHAT ABOUT PIXEL HEART??? WHERE IS PIXEL HEART?!
waitwait when did you start doing bees??? i love bees. when did this happen? when was the last time i checked your RB?
why does the redbubble graphic print dress look so damn stiff and unflattering? why is the mini skirt not even remotely a mini? is the long t shirt option gonna be my only choice for a body con mini dress?
you know how when you spend a day at the beach, you feel the waves when you go to sleep? at night i close my eyes and still feel like i’m swinging in the air.
I am not the first person you loved.
You are not the first person I looked at
with a mouthful of forevers. We
have both known loss like the sharp edges
of a knife. We have both lived with lips
more scar tissue than skin. Our love came
unannounced in the middle of the night.
Our love came when we’d given up
on asking love to come. I think
that has to be part
of its miracle.
This is how we heal.
I will kiss you like forgiveness. You
will hold me like I’m hope. Our arms
will bandage and we will press promises
between us like flowers in a book.
I will write sonnets to the salt of sweat
on your skin. I will write novels to the scar
of your nose. I will write a dictionary
of all the words I have used trying
to describe the way it feels to have finally,
finally found you.
And I will not be afraid
of your scars.
I know sometimes
it’s still hard to let me see you
in all your cracked perfection,
but please know:
whether it’s the days you burn
more brilliant than the sun
or the nights you collapse into my lap
your body broken into a thousand questions,
you are the most beautiful thing I’ve ever seen.
I will love you when you are a still day.
I will love you when you are a hurricane.
This animation shows a cinemagraph of a breaking wave photographed by Ray Collins. The motion was
inferred and digitally added by a second artist, Jersey Maria. The result is hypnotic, as if we are traveling beside the wave and watching it tear apart ever so slowly. The wave seems to be poised on a tipping point, only breaking up along its back edge, when instinct tells us it will keep steepening and tipping forward until its top curl crashes down in a wave of white foam. Surf photography like Collins’ work shows us an alternative perspective on waves, their power frozen into a single instant. Reanimated, it feels like we’re seeing the wave in hyper-slow-motion, watching every tiny movement of water before everything crashes down. Even if it’s not physically realistic, it is an awesome view. (Image credit: R. Collins / J. Maria, source, original; via Iwan A.)
