I’m thinking that the two bottom ones are the same place but from different angles. The top one is an ancient floating library that holds the secret to unlocking magic in the land. The second one (with the guy and the red cape) probably shows the villain’s lair or the city of evil or whatever you wanna call it. Hell on earth. The dude with the cape is either the anti-hero/antagonist or else a neutral character that helps both sides for his own interests. The middle picture is a wasteland between the three major locations in the story, probably where a few bandits have settled in.
I’d imagine the library is beside some kind of volcano or other geothermal power source and a limitation of the magic is that you have to be near some kind of natural energy to use it.
HOW TO SURVIVE A HEART ATTACK WHEN ALONE
Let’s say it’s 6.15pm and you’re going home (alone of course), after an unusually hard day on the job. You’re really tired, upset and frustrated. Suddenly you start experiencing severe pain in your chest that starts to drag out into your arm and up into your jaw. You are only about five miles from the hospital nearest your home. Unfortunately you don’t know if you’ll be able to make it that far. You have been trained in CPR, but the guy that taught the course did not tell you how to perform it on yourself..!!
NOW HOW TO SURVIVE A HEART ATTACK WHEN ALONE…
Since many people are alone when they suffer a heart attack, without help, the person whose heart is beating improperly and who begins to feel faint, has only about 10 seconds left before losing consciousness.
However, these victims can help themselves by coughing repeatedly and very vigorously.
A deep breath should be taken before each cough, and the cough must be deep and prolonged, as when producing sputum from deep inside the chest.
A breath and a cough must be repeated about every two seconds without let-up until help arrives, or until the heart is felt to be beating normally again.
Deep breaths get oxygen into the lungs and coughing movements squeeze the heart and keep the blood circulating.
The squeezing pressure on the heart also helps it regain normal rhythm. In this way, heart attack victims can perhaps buy precious time to get themselves to a phone and dial 911.
Rather than sharing another joke please contribute by broadcasting this which can save a person’s life!
Be prepared and become part of the solution. Get your free next-of-kin notification card today. Click here: https://www.InCaseOfEmergencyCard.com/
major signal boost
Horror is often misconstrued as something that is gory—but this isn’t always the case. Horror is simply something that is written with the intention of provoking fear, and lucky for you, there are plenty of ways to do this. In a good horror story, there should be fear on two levels:
Fear in the character
Fear in the audience
These two work closely together, and cannot thrive without each other. If the character that is experiencing your story is not afraid, then the reader would feel as though they have no reason to fear as well. If the character is afraid of something that the reader is not, then the character can be played off as melodramatic and overly emotional, and there will be an overlay of comedy in the story that you don’t want. Additionally, there should be two types of fear within your audience:
Fear for the character
Fear for themselves
A strongly scary story will evoke both of these in your reader, because you want the reader to be fully engaged while they’re reading, but also after they’re finished. If you’ve played your role well, the terror of your plot will linger far after the story has been put away. This can seem like a large feat—creating some concept that terrifies your audience enough for them to keep it in their heads even when they aren’t reading your story.
But here’s the catch: your audience is already afraid when they start reading. Afraid of your plot? No. But afraid of something. It is often said that people fear of the unknown, but I don’t think that’s true. People fear that the unknown will turn out to be something they’re already afraid of. This is where you take advantage.
The broadest and most instinctual fears are death and pain. This is why gory slasher films can often be spread to a wide audience; who wouldn’t be afraid of the kind of pain inflicted in those movies? However, this also means there are a lot out there. Targeting a smaller audience is more advisable, and this means targeting specific phobias. The more common ones are also flooded in the media: spiders, clowns, scary children, ect. So when I say specific, I mean specific. Down to the nitty gritty spindles of detailed fear deep in the human psyche. How do you find out what these are?
Well, ask your community of course.
Your community starts with your school. English classes, writing classes, and psychology classes are great places to ask for help. If there’s a teacher that likes you and knows you’re a writer, ask them if you can pass out a prompt. Have people fill them out anonymously, you’ll be amazed what you’ll get back. You can cater it for your story, but here’s an example:
“They said you would pay, and now you have. In the middle of a night a crate shows up in your bedroom. You don’t know how they knew, but it’s the one thing you’d never be able to overcome. What’s in the crate?”
Once you find your story, make sure you cover your basics:
-The threat should target a very specific phobia, causing a larger reaction in a smaller audience
-The character must have an appropriate level of terror for your threat
-This level of fear must be reflected in your audience
-The audience must be afraid for the character, but also that the threat could reasonably come after them as well
Good luck being horrific!
Instead of whispered, consider:
- said in an undertone
- said low
- said into someone’s ear
- said softly
- said under one’s breath
- said in hushed tones
aye lil mama let me insinuate in ya ear