Music Code Here
It's a Dangerous Business


this website SAVED MY BRAIN when i was a stressed out college student who couldn’t stop flipping out long enough to prioritize. quite a few of you are still suffering through college so i hope this helps you too!! c:





After my Uta cosplay I got a lot of questions on how I covered my eyebrows, mine are rather thick and a lot of people have trouble covering their eyebrows when they’re as thick as mine so here is my tutorial for you! This by no means the perfect way or right way, this is just what works for me.

MATERIALS: Glue stick, plastic knife, White powder, concealer, regular powder and face paint (optional)

  1. Get a gluestick, doesn’t matter the color. Cut of a big chunk of it and slap that sucker onto your brows, don’t worry it will wash out and not tear off your eyebrows. I’ve done this many times. Take a plastic knife or what ever tool you prefer and smooth the glue across your brows till they are fully covered. (I rushed so mine could have been blended better but eh whatever)
  2. You will want to get some white powder/makeup and cover your eyebrows where the glue is. I unfortunately ran out of my powder so I used white face paint instead for this, while it still works you’re MUCH better off with a white powder, it gives it a cleaner look.
  3. Time to use yo liquid concealer. Smother yo brows with concealer till no purple can be seen, I also used a little bit of pink facepaint to cover places where the purple stood out a lot.
  4. Now take your powder and whatever other makeup you use and BLEND IT ALL OVAH. You want to make it look as seamless as you can (Step one comes in VERY handy here, the better you blended the glue the better it will look at the end, I went back and blended my glue a little more.)

AND TA DAH! Now you’re an eyebrowless beautiful person.

A GLUE STICK WHY DIDNT I THINK OF THAT fuckkkk …Kevin Aucoin lives!!

Oh hey totally can use this for my Garrosh cosplay!



33 Cupcake Recipes

I love these because I always bake for people when I’m happy




DIY Glowing Inlaid Resin Shelves by Mat Brown


Anatomy of the Rapier

There are a lot of things that could be said and mentioned here, the rapier being quite a complex weapon, but this short and quick presentation should do. 

A rapier is a long, straight-bladed cut-and-thrust single-handed sword optimized for the thrust and featuring a guard that affords good protection to the hand; the rapier sees its apogee between the last third of the Sixteenth Century and the end of the Seventeenth.

The rapier anatomy of the rapier is broken into two distinct parts: The blade, and the guard.

  • Anatomy of the Blade

The blade of the rapier describes the long sharpened piece of metal which all the other parts surround or attach.

  • Tang

At the base of the rapier blade is the tang, which is a long tongue of metal that descends into the guard and ends at the pommel which is screwed onto threading or attached more permanently through [peening] or welding.

  • Ricasso

The unsharpened section of the blade beginning immediately after the tang. When placing a guard onto the blade, the crossbar block slides over the tang and then rests against the ricasso, preventing it from sliding further down the blade. The ricasso can extend from the crossbar block to the outer sweepings or guard shell (meaning the sharpened or more tapered edge of the blade begins immediately after the guard) or further down the length of the blade. The edges of the blade at the ricasso are square/flat.

  • Blade

The sharpened part of the blade is generally what is referred to when speaking of the ‘blade’. This part begins after the ricasso and is the part of the sword used for striking and defending.

  • Edge

The edge of the blade is oriented with the crossbar of the guard and aligns with the knuckle of the hand when holding the sword so that the knuckles lead the edge. On a rapier there are two edges that you can identify when it is held: the true edge (on the same side as your knuckles) and the false edge (on the same side as the base of your thumb).

  • Point

The part of the blade opposite the tang and pommel that is used for penetrating the opponent.

  • Strong

The lower half of the exposed rapier blade, generally used for defense. In Italian the Forte.

  • Weak

The upper half of the exposed rapier blade, generally used for offense (cutting and thrusting). In Italian the Debole.

  • Anatomy of the Guard

The guard of the rapier is the part that protects the sword hand of the wielder.

  • Pommel

A counter weight at the base of the blade, just behind the guard.

  • Turk’s Head

A spacer between the counter weight and handle.

  • Handle

The part of the rapier that you hold. Handles can be made of wood, wood wrapped in wire, wood wrapped in leather, and some other materials. Some handles are shaped to provide comfortable grooves for your fingers or provide other handling or comfort characteristics.

  • Crossbar Block

The crossbar block or alternatively the quillion block is a piece of metal that mounts to the blade just above.

  • Crossbar

The crossbar or quillions are a rod that extend perpendicular to the blade, on either side, and are used for protecting the hand, binding blades, and deflecting the sword of the opponent.

  • Sweepings

The rings and other rods that make up the guard and protect the hand.

  • Knuckle Guard

Sometimes referred to as the knuckle bow, the knuckle guard is a bar or bars of metal that extend down in front of the sword hand, protecting the knuckles. The knuckle guard can be used to identify the true edge of the sword.

  • Cup

The cup or shell is a solid plate of dished metal that surrounds the hand, typically in place of the sweepings, but sometimes in combination on some guards.

Source: Copyright © 2014 Western Martial Arts Wikia


strideup asked:

I have this story I have enjoyed writing. I have taken the readers on an emotional roller-coaster already. I’ve given hope, and then dashed it against the rocks (all this delicious stuff). But my ending is shaping up to be too easy. Things fell into place, and suddenly my antagonist is outnumbered and could plausibly be defeated without any major character deaths or tension.

I would give him an extra level or something, but I’ve already strung my would-be readers along quite a bit, and the story risks dragging. What can I do? Is it okay to have a relaxing final battle, or does that go against the functional plot-structure? And if it does, how do I keep the story from becoming endlessly depressing?

Hey there, StrideUp~ nice to see you again!

Let me first say that I LOVE your question, because nobody ever asks about writing climaxes (or endings). I find them to be one of the most interesting parts of writing— so I really welcome the chance to talk about it!

So, let’s take it from the top.

Before I go on with anything else, the first point I want to make is that if you have been working on this story for a long time— it’s very likely that your ability to judge the story may not be very good. Now, I don’t mean this in a bad way. When one spends a long time working on the same project it becomes very hard to focus on the details.

Take it from the person who thought everyone was going to be able to see the plot twist to Justine’s Blood coming from a mile away. During the first draft a part of me (the fearful part) thought of scrapping the book because it thought the twist was ‘too obvious.’ Of course, the smart part of my brain kicked in and reminded me that…

Major revisions to the story should wait until you have completed the first draft AND have given the book some time to cool-down.

Seriously. As seen in my Top 5 Tips for Revision, I think that in order to be able to judge your book you need to step away from it. You need distance. As the saying goes, you should strike the iron while it’s hot, but don’t try to touch it. The iron is too hot. Let it cool. 

You don’t have to get it right the first time around, that is what revision is for. I have found (in my experience) that giving the book time and looking at it objectively makes a whole world of difference. Right now, I feel that it would be more effective for you to first finish writing the book, letting it sit for a while, and then work on revising it when you pick it up again. That, of course, is up to you c;

Now that this is out of the way— let’s tackle your questions, okay? In reversed order, because I like breaking the rules :p

How do I keep a story from dragging on, and losing my readers from it getting endlessly depressing?

Two things: Stakes & Payoff.

You can drag your reader through hell. You can show them horrible things— and as long as there is something at stake they will keep reading, because (as the curious creatures we are) we seek to find out what is going to happen to the things at stake (the things we care about). Now, some people may argue that if you keep having something at stake without any resolution that you are asking to bore your readers— but the examples posed by this are mostly related to TV Shows that run for several seasons and the plot elements that are used to keep the viewers watching. Here is where the carrot-on-a-stick idea comes in. But, I don’t feel like this applies to books— because, as you are about to read, a book needs to have a payoff that is meaningful to the things at stake.

Payoff. I believe that the payoff is the most important part of a climax (and the resolution of a story). Now, people often associate payoff with material gain— but there is so much more. I am a sucker for character growth. I love seeing characters change through the story. But, of course that is not what payoff is really about.

Payoff is about change. Meaningful change.

I want you all to say this with me.

Payoff is about change. Meaningful change.

We have all read and seen stories with endings that disappointed us. This happens because of two things:

  • There was nothing at stake, and thus the payoff falls flat because we don’t have an emotional attachment to the resolution. (Without starting an argument, this is the main issue I have with The Last of Us. If enough people want to know, I am willing to type my thoughts. Before anyone yells at me, let me clarify that I liked the game, it was fun— but I have a lot of issues with the ending.)
  • There were things at stake, but the payoff did not equate to the emotional attachment it demanded of us, and thus we were not satisfied. (Basically, the finale of Angel.)

Now, I have more to say, but let’s address this in the next question…

Is it okay to have a relaxing final battle, or does that go against the functional plot-structure?

This is the thing about stories… you can tell it however you want as long as you can make it compelling. Simple as that. Plot structure is more of an imaginary concept than anything else, and like all imaginary things you can imagine it to be something else c;

Here is the deal. People say that your story needs to have a rise in action— but this is not necessarily true. What your story needs to have is a rise in emotional attachment. The more you read, the more you care. And how do you make your reader care? By having things at stake. Again, this doesn’t always have to be material things. It can be a character’s dreams of fame, or their innocence. All that matters is that there is something at stake. Something we want to protect. Something we want to destroy. Someone we want to change.

Now, let’s look at your story not as a plot structure. Let’s consider the emotional attachment. If you have pushed your readers through hell (and worse) and now the final showdown comes and things fall in to place.

Stories write themselves. They really do. I have found that in the last third or so all of my books start dragging me around. My books always go long (or longer than I planned). If things ‘fall into place’ then maybe that is the way the story wants to go. Books are weird like that :p

Let’s be blunt here— is it okay to not have action in the very climax of your story? Of course it is. Your reader will be satisfied as long as there have been things at stake (to make them care), and the pay off was reflected on those stakes (by resonating their emotional attachment). It’s as simple as that~ ♥︎

Now… let’s pretend that you have reviewed all of this, and you still feel that maybe the payoff is not satisfactory enough.

What can I do to expand on this?

I want you to look at everything that could possibly go wrong— and make it all go wrong. Why not? You say that your antagonist is surrounded, and without options? I don’t know about you… but certain creatures a even more dangerous when cornered. And, really, most people smart enough to stir trouble (and get away with it) are smart enough to have a Plan B. Get inside the head of your antagonist. The walls are closing in on them— they have nowhere to go. What are they going to do, surrender… or fight? Or worse, make it so that nobody wants to fight them?

If you need an exercise to help you decide, I have an old video just for you c;

I hope this helps! I love talking about writing climaxes & endings, so if you have any more questions I would love to hear them~ ♥︎

Thank you for the question, strideup! And doubly-thank you for pledging to my Patreon page! Thank you for directly supporting me, my books, and the awesome posts that you see on this blog everyday~ ♥︎

Interested in becoming a Patron? Head over to my Patreon Page where you will find information on the sweet perks that can be yours from as little as $1 dollar a month, least of which is my gratitude! ♥︎


Colorful vials of nebulae


  • Bottle
  • Glitter
  • Cotton
  • Clear Glue
  • Food Coloring





Hey Crime fiction writers. Here’s an oft-cited reference chart to show you what different bullets look like going in and coming out.

"I am a writer…" I whisper as I reblog this.

"I am a murderer…" I realize as I reblog this.

"I am both…" I realise as I reblog this.


Still confused on what paper stars are? This’ll be a little card in each of my paper star packets from now on! I have a limited space to work with so this is what I could fit~