“How many times have people used a pen or paintbrush because they couldn’t pull the trigger?”

1. oh, you’re walking through this door? let me just ~politely~ slam the door in your face on the way out
2. i know we’re technically supposed to be fighting each other with swords, but you ended up on the ground and i fell on top of you, and woah… i never noticed how attractive you are until now, so let me just appreciate for a moment – wHY THE HELL DID YOU JUST SHOVE ME 
3. you’ve got me pinned against the wall and i’m not sure if i want to kiss you, or kill you. probably both 
4. ‘’i know we’re, like… friends now, or whatever, but… i’d still kick your ass.’’ ‘‘like you could ever beat me.’‘ but they do, in fact, beat them.
5. so you’re just… not going to respect my take on this whole thing and go against everything i just said? that’s fine. i’ll just do the same thing and – oh, you didn’t like that? okay. O K A Y . and obviously, they’re doing it out of spite 
6. character A says ‘‘i’m going to kill you.’‘ and character B takes a step close, they’re so close now, if character B bends their head, they’d be kissing, and character B’s intensely staring into character A’s eyes, and character A’s like… shit . THIS DID NOT GO AS PLANNED ABORT MISSION ABORT ABORT ABOR —– 
7. OH NO – my love interest has said that they don’t care if anything happens to me, but now i’m about to die, and they’re risking their own life by running into a burning building to save me!!!!! also, did they just scream my name before bursting into the building??? god why do they sound so,,, worried???? 
8. okay, so… did we… did we just hug… dude. let, let go of me. let’s just. let’s just pretend this didn’t happen. *cough* i’m going to walk away now. okay. BYE 
9. ‘‘is that a smile?’‘ ‘‘if you tell anyone about this, i swear to god, i’ll kill you.’’ 
10. so somebody ends up on somebody’s lap and holy shit maybe the tension is… unbearable 
11. when they share an intimate moment, or maybe even a kiss, and they’re both so confused by it, they completely derail. like, they just… stop working. because what the HELL just happened and then they just stare  at each other and nobody says a word until one of them turns around and SPRINTS out of the room 
12. ‘‘go ahead, do it. if you’re so convinced you’ll kill me, do it.’‘ faster than a bullet, character A grabs a knife, handing it over to character B, who, of course, despite having spent the last couple of months claiming they would kill their love interest, and leave them for dead, can’t bring themselves to grab the knife, and actually do it
13. you ever just get so annoyed by a person, and what they have to say, that you snatch hold of knife and throw it into the wall behind them with all of your strength yeah me neither but maybe this fictional couple would
14. using seduction to try and throw each other off balance, usually by taking their clothes off in front of the other person, and it’s working
15. you just took a friend of mine hostage, and your crew’s been torturing them… i just found out about it, and i’m so disappointed, and there’s tears in my eyes, and the other character’s like, holy hell it fucking hurts seeing you like that… and knowing that my crew did that, that i did that to you… that i’m responsible… 
16. when character A is really sad, and just… out of nowhere, wraps themselves into character B’s arms and starts crying… and character B’s just like… what the hell…? we hate each other? but ok i’ll let it slide this time
17. there’s only one bed, but this time they’re arguing over who has to sleep on the floor, in which nobody agrees to do, so they end up in the same bed, incredibly annoyed that they have to share their space (it’s not like friends to lovers, in which they both awkwardly get into bed and laughs it off. this is straight up just. i will set this bed on fire if you don’t stay over on your side)
18. do these two do anything other than be at each other’s throats. like. can they hold oNE conversation without arguing over something
19. so you’re just. you’re just going to chain me up against this tree. okay. that’s fine. that’s totally fine. i’m fine. 
20. when one of them realizes that they’ve gone too far, and they show up at their love interest’s door to apologize, but the following conversation happens; ‘‘why are you here?’‘ ‘‘i’m here because i want to apologize.’‘ ‘‘well, i don’t want you here, so go away.’’ followed by the character getting the door slammed in their face.
21. THE FIRST KISS – and total denial after it happened, and they’re convincing themselves that there’s nothing going on between them… and they pull away from the kiss, and look at each other, and they’re just like… yeah. just realized i’m head over heels in love with this person but if i speak i will die
22. when they’re having a moment, and one of the characters says ‘’you hate me.’’ and the other character replies with ‘’maybe i don’t hate you entirely’’
23. when character A’s crew has taken character B hostage, and character A finds out they’re to be executed, and suddenly it’s this race against the clock to try and save character B’s life, while also trying to not reveal to their crew that they’re head over heels in love with the enemy
24. it’s not enemies to lovers if the characters hasn’t tried to kill each other at least once, or betrayed each other, or put a friend or a loved one of the other person in danger 
25. literally, how much do i have to stress this, enemies to lovers, they’ve got to raise hell in each other’s lives, enemies to lovers is not about sitting around a campfire and singing kumbaya, enemies to lovers means i’m covered in blood, and if you’re not careful, it’s soon be yours
26. and rivals to lovers is, you’re covered in blood, but since you’re here, i’ll help you clean it up, but if you get blood on my carpet, you better run 
27. IF THERE WAS EVER A TIME TO SLOW BURN, IT’S RIVALS OR TO LOVERS. IT’S ALL!!!!! ABOUT!!!!! THE YEArning!!!!!! THESE ASSHOLES ARE FILLED WITH TOO MUCH PRIDE TO ADMIT THEY’RE IN LOVE WITH EACH OTHER!!!!!!

A mix of actions that focus on the seduction/pinning. Inspiration taken from an array of different memes to put them all together in this one. Feel free to mix prompts to make more specific ones or if reverse them.

send in one of these for my muse’s (RECEIVER) reaction to your muse (SENDER) …

• ( DOOR ) opening the door for mine to pass.
• ( STARE ) longingly staring at mine from across the room.
• ( WATCH ) watching mine while drinking their beverage.
• ( TOUCH ) “accidentally” briefly touching mine. (example: brief hand touch, knee under the table)
• ( HOLD ) holding mine’s hand.
• ( HAND ) kissing mine’s hand.
• ( GIFT ) giving mine a gift. (example: flowers, jewellery)
• ( FLOWER ) putting a flower in mine’s hair.
• ( LETTER ) sending mine a love letter.
• ( LOCK ) offering my muse a lock of their hair.
• ( LEAN ) leaning against mine’s side.
• ( FIX ) fixing or straightening my mine’s clothes.
• ( DANCE ) leaning in closer while they are slow dancing with mine.
• ( COMPLIMENT ) complimenting mine.
• ( STAR ) staring at mine instead of the stares while stargazing.
• ( PLAY ) playing with mine’s hair.
• ( BRUSH ) brushing mine’s hair.
• ( LIP ) biting or licking their lower lip.
• ( SING ) singing to mine.
• ( GRAZE ) grazing mine’s shoulders with their fingers.
• ( BECKON ) beckoning to follow them.
• ( SLIDE ) sliding down their hand down mine’s back.
• ( CHIN ) grabbing mine’s chin.
• ( SILENCE ) silencing mine’s by pressing their finger on mine’s lips.
• ( PUSH ) pushing against the wall. (example: rough or soft pushing against wall)
• ( SIT ) sitting on their lap.
• ( HIP ) pulling mine by the hips.
• ( FACE ) stroking mine’s face.
• ( HOVER ) hovering their lips over mine’s.
• ( NECK ) kissing mine’s neck.
• ( GRIP ) holding mine by the back of the neck.
• ( SURPRISE ) being found without an article of clothing (example: being found shirtless)
• ( SECRET ) arriving where they both agreed to meet in secret in the dead of night.

• every other saturday theres movie night of new illegally/magically downloded movies in the dining hall at 9pm 
• no house elves in the kitchens, it’s staff and pukwudgie students (that volunteered) 
• a translator spell was invented for students who didn’t speak english very well or at all, or just preferred to speak in their native langauge, and if any other student made any comment like “you’re in america, speak english”, they would spend the rest of their weekends in detention 
• the wampus common room has two giant stone knight statues that protect the entrance and open the doors for you, anyone is welcome into the common room, just not the dorm rooms, it’s an incredibly, loud, welcoming, and cozy common room
• the horned serpent common room is within the library, the password to get in changes every month, and is usually a phrase from literature, it is almost considerbly messy, books scattered everywhere, spilled potions, almost empty potion bottles, cauldrens laying around 
• the pukwudgie common room is on the same floor as the kitchen, they make up the entire floor, it always smells amazing and is as welcoming as the wampus common room, just not so loud 
• the thunderbird common room is outside of the castle, in treehouses, the treehouses surround the castle and are all linked together, a very sleepy and very real thunderbird sits in the trees, protecting their rooms from storms or outsiders 
• football season and march madness is insane 
• the small town a few miles away from the castle is a very touristy town, full of fake anf for fun witch shops 
• wampus colors - deep red, orange, gold, and black 
• horned serpent colors - silver, green, blue
• pukwudgie colors - orange, red, brown, yellow 
• thunderbird colors - grey, light blue, dark blue, brown 
• quill and ink are only used for final reports, that or typed, normally students just use pens and pencils 
• due to a few thunderbirds and horned serpents in the river that goes around the castle the weather is usually rainy and stormy 
• if students desire and/or their home life isn’t ideal or safe, they may stay in the castle on holidays and during the summer
• many students who excell in potions go on to be chemists 
• lots of hand on magic 
• the surrounding mountains, forests, and rivers are full of nymphs 
• some students bring in video game consoles for their common room and dorm rooms 
• starting at 16 students start to get jobs in the small shops within the castle or down in the tourist town 
• no indigenous cultures are magic, some actual indigenous people have magical abilties just like the rest of the students, but not their culture 
• there are no-maj electives such as art, computer programming, web design, film, forgein langauge, american sign langauge, writing, journalism, choir, band, theater, shop class, and almost endless social studies classes

• “How come she loves you?”
• “There are an endless number of things I wish to forget.”
• “I came so far. Only to end up here.”
• “I’m scared. Why am I so scared?”
• “He never came back. Even though he said he would.”
• “I wish I didn’t care about it.”
• “Pain is not an easy thing to ignore.”
• “Set me free.”
• “I made her cry. How could I do that?”
• “Please don’t make me say it.”
• “There’s only so many times I can mend this heart.”
• “How do I keep going?”
• “It’s gone. All of it.” 
• “He forgot me.”
• “This is the end.”
• “No, please. Wait. Please. Can’t we just talk? Please? Let me talk.”
• “Don’t say goodbye.”
• “It was always going to end like this. Wasn’t it?”

• “I can’t do it. I can’t do it. I have to go back.”
• “You don’t understand. Please don’t make me do this.”
• “We have to go now or we’ll never make it in time.”
• “Let go of me! I have to find her!”
• “It has to come back. It has to!”
• “Did you feel that?”

• “I feel my business should be saved for later, lest it ruin the moment.”
• “Not many people would willingly choose my company.”
• “Please do not ask my name.”
• “You do not forget someone like me.”
• “People do say I have a familiar face.”
• “The year does not matter, only the moments we have now.”
• “Forgive me. You’ll know why soon enough.”
• “I’m afraid there are things I cannot afford to divulge.”

• “It was supposed to be you!”
• “You own my heart. For all of eternity.”
• “What I feel is far beyond love.”
• “I’d sooner die than deny my feelings for you.”
• “I belong with you.”
• “Just look at me.”
• “I wish I didn’t love you so much.”
• “Nothing in this entire jeweled city could compare to you.”
• “My resentment is beginning to outweigh my love.”
• “You’re not the only one.”
• “I want to spend every moment with you.”
• “You hurt me so well.”

• 11/01 - Develop what most inspires you. Let your world blossom, your character present themself, or your conflict begin.
• 11/02  - Introduce your protagonist’s day-to-day routine. Show who they are in their own element before their life spirals out of control.
• 11/03 - Show readers a conflict that’s been occupying your protagonist’s mind–use this as an opportunity to reveal another dimension of your world and the characters that inhabit it.
• 11/04 - Delve deeper into the side characters. Explore their superficial relationships with your protagonist.
• 11/05 - Bring in a new face. This face might belong to a new friend, a love interest, or even the villain.
• 11/06 - Take a moment to breathe, then destroy your protagonist’s world. Break it in such a way there’s no taping it back together. (And remember! This doesn’t have to be a bad change! Just an irreversible one.)
• 11/07 - Let your readers wallow in the fallout. Show how your protagonist initially responds and who they reach out to (if anyone).

• 11/08 - Your protagonist is on the precipice; let them jump. Encourage them. This is where the plot truly begins.
• 11/09 - Show your character the paths they can take. They don’t have to choose one yet, but let them know what their options are.
• 11/10 - Introduce conflict between your protagonist and one of the characters they thought they trusted.
• 11/11 - Explain away the conflict. Put your protagonist and that character back on somewhat firm ground–maybe there’s still suspicion, but it won’t break them. Yet.
• 11/12 - Make your character choose a path. It’s too late in the game to be all wishy-washy about what to do and how to do it.
• 11/13 - Show them that they’re not yet equipped to handle the primary conflict of your novel.
• 11/14 - Let them take a step back and re-asses. Let them consult with those that they trust and try to find how to best tackle the conflict.
• 11/15 - Give them a way to grow the skills they need or learn the information they need to best succeed in the main conflict.
• 11/16 - Renew their confidence. Little-by-little, help them remember that they can do this.
• 11/17 - Let your protagonist’s relationship with another character take an unexpected turn. This could be anything from them having helpful knowledge/skills to having a connection with the villain to being romantically interested in the protagonist.
• 11/18 - After all their hard work is paying off and your protagonist thinks they might just be able to succeed in their goal.
• 11/19 - The newfound skills/information/etc. your protagonist has gathered are put to the test, and they come out victorious. Delight all around!

• 11/20 - Your protagonist’s worst fear is confirmed and all the bravado they’ve gathered comes crashing down around them. (Hint: This is a great place to bring back the 11/10 conflict.)
• 11/21 - Your protagonist struggles to cope with the last blow they took, but they don’t have much time. They need to compose themself.
• 11/22 - Time to gear up for the grand finale. There’s no going back now, and everyone knows it. Let your protagonist and their allies gather.

• 11/23 - Shove your protagonist into a room with the conflict that’s been haunting them from the beginning and let them have a moment with it.
• 11/24 - Bang! Pow! Climax time!
• 11/25 - Just when your protagonist thinks they’re winning, make it all go wrong. A fundamental piece of the puzzle is missing and we’re in disasterland now, lads.
• 11/26 - Let a side character prompt the protagonist’s defining moment–let them do something unexpected to prompt an even more unexpected response.
• 11/27 - Ideally, this will be victory time! Everything we’ve been hoping for since the beginning comes to fruition and all the protagonist’s hard work pays off. Alternatively, you could make this end real bad. It’s up to you.
• 11/28 - Let the results of the final conflict settle in. These could be good or bad, depending on your story, or even better: both.
• 11/29 - Go back to the beginning. Rewrite the first scene or develop a prologue. Now that you have a sense of the ending, you’ll have a better idea of where things should’ve started!
• 11/30 - Show your readers where everyone ended up–did they get a happy ending? A sad ending?

• “It was always you.”
• “Can you just hold my hand?”
• “I wished every day to hold you once more.”
• “You are a fountain of good fortune, my love.”
• “Seeing your face is like drinking water after a lifetime in the desert.”
• “There is something between us and it is the most beautiful thing I have ever felt.”
• “If I could stay here with you forever, I would.”
• “You had the deftness of a master thief when you stole my heart.”
• “You are the first thing on my mind, the last thought before sleep, and my truest love.”
• “If I could, I’d hand you my beating heart on a platter.”

• “You made me feel weak.”
• “I didn’t mean to love you so much.”
• “You were the only person I thought I could trust.”
• “You promised you wouldn’t forget me.”
• “I don’t have anyone else.”
• “I thought you still loved me.”
• “You never cared that you broke my heart.”
• “It wasn’t supposed to end this way.”
• “Please just stay with me. For one moment at least.”
• “You’re leaving now?”
• “You didn’t miss me at all?”
• “I can’t love you anymore.”
• “I wish I was sorry.”
• “All these years and you decide to break my heart now?”
• “Did I ever really matter to you?”

• “Admit that you’re wrong!”
• “Do not compare yourself to me.”
• “My hate for you runs deeper than your ego.”
• “You left me!”
• “You will never know how I feel.”
• “Liar!”
• “I wish you were dead.”
• “You will regret this.”
• “Get away from me!”
• “I don’t know you anymore.”

• “This is my favorite time of day.”
• “Isn’t it beautiful?”
• “Feel it, it’s soft.”
• “He’s adorable, what’s his name?”
• “Let’s take the long way home.”
• “I know it’s early, but you have to see this sunrise.”
• “Paint with me.”
• “I love it. It’s amazing.”
• “Look at those stars.”
• “You’re absolutely fantastic.”

• Healthy, strong sibling bonds
• Two supportive, active parents
• Men who are open with emotions of all kind
• Women who have no weak spots for romantic love
• Hardened characters who (professionally) care for kids, animals, or the elderly and are sweet with them
• Pansexual and lesbian characters in sci fi
• Intense newly-formed friendships
• Lust at first sight, reluctantly (& eventually) in love
• MCs who aren’t naturally or easily athletic 
• Lazy do-gooders
• Unlikely cat people
• Someone who’s known for being a good singer/musician but would rather pursue math or science
• Men who are rough but aren’t condescending to women
• Non-humans who live in a human world and have a cultural identity crisis
• Characters that willfully go to a therapist
• Women with careers AND a rich, full family/social life
• Dedicated teachers
• A character that got a degree in business/finances/tech to have a secure job and save up for a lifelong dream
• A woman who lives in an isolated area/home alone and prefers it that way
• Divorced parents and step-parents that care about each other and work hard to be a loving support network for the kids involved
• Sex workers that are not angels or demons, but complex characters like everyone else
• Stay at home dads
• Recovering alcoholics/addicts that have been clean for years and help other trying to get clean
• A deadbeat, unemployed female character
• Rough characters who are also bookworms
• Kids who are just as emotionally intelligent as the adults