and more of the control character period

Writing Tip: Don’t Be Afraid of Mixing Dialogue and Action

So I’ve been reading a lot of amateur writing lately, and I’ve noticed what seems to be a common problem: dialogue. 

Tell me if this looks familiar. You start writing a conversation, only to look down and realize it reads like: 

“I’m talking now,” he said. 

“Yes, I noticed,” she said. 

“I have nothing much to add to this conversation,” the third person said. 

And it grates on your ears. So much ‘said.’ It looks awful! It sounds repetitive. So, naturally, you try to shake it up a bit: 

“Is this any better?” He inquired. 

“I’m not sure,” she mused. 

“I definitely think so!” that other guy roared. 

This is not an improvement. This is worse. 

Now your dialogue is just as disjointed as it was before, but you have the added problem of a bunch of distracting dialogue verbs that can have an unintentionally comedic effect. 

So here’s how you avoid it: You mix up the dialogue with description. 

“Isn’t this better?” he asked, leaning forward in his seat. “Don’t you feel like we’re more grounded in reality?” 

She nodded, looking down at her freshly manicured nails. “I don’t feel like a talking head anymore.” 

“Right!” that annoying third guy added. “And now you can get some characterization crammed into the dialogue!” 

The rules of dialogue punctuation are as follows: 

  • Each speaker gets his/her own paragraph - when the speaker changes, you start a new paragraph. 
  • Within the speaker’s own paragraph, you can include action, interior thoughts, description, etc. 
  • You can interrupt dialogue in the middle to put in a “said” tag, and then write more dialogue from that same speaker. 
  • You can put the “said” tag at the beginning or end of the sentence. 
  • Once you’ve established which characters are talking, you don’t need a “said” tag every time they speak. 
  • ETA: use a comma instead of a period at the end of a sentence of dialogue, and keep the ‘said’ tag in lower caps. If you end on a ? or !, the ‘said’ tag is still in lower case. (thanks, commenters who pointed this out!) 

Some more examples: 

“If you’re writing an incomplete thought,” he said, “you put a comma, then the quote mark, then the dialogue tag.” 

“If the sentence ends, you put in a period.” She pointed at the previous sentence. “See? Complete sentences.” 

“You can also replace the dialogue tag with action.” Extra guy yawned. “When you do, you use a period instead of a comma.”

So what do you do with this newfound power? I’m glad you asked. 

  • You can provide description of the character and their surroundings in order to orient them in time and space while talking. 
  • You can reveal characterization through body language and other nonverbal cues that will add more dimension to your dialogue. 
  • You can add interior thoughts for your POV character between lines of dialogue - especially helpful when they’re not saying quite what they mean. 
  • You can control pacing. Lines of dialogue interrupted by descriptions convey a slower-paced conversation. Lines delivered with just a “said” tag, or with no dialogue tag at all, convey a more rapid-fire conversation. 

For example: 

“We’ve been talking about dialogue for a while,” he said, shifting in his seat as though uncomfortable with sitting still. 

“We sure have,” she agreed. She rose from her chair, stretching. “Shall we go, then?” 

“I think we should.” 

“Great. Let’s get out of here.” 

By controlling the pacing, you can establish mood and help guide your reader along to understanding what it is that you’re doing. 

I hope this helps you write better dialogue! If you have questions, don’t hesitate to drop me an ask :)

My review of BatB (2017): part one

So … I finally got a chance to see the film today. After years and years of waiting for a live-action remake of one my favorite Disney movies, I’m sad to say that I left the theater feeling underwhelmed and disappointed.


First the things I hated/disliked:

Emma Watson as Belle. Wow, talk about bad casting. To think I actually once thought she would be a good choice for the role, but that was before I knew this film would be a musical. Back when I still had hope that she would grow as an actress. I tried to remain optimistic. I wanted to wait and see for my myself if she had improved, but the truth is … no, she hasn’t. If anything she’s even more boring, stiff, snobby and unemotional than ever. Her singing isn’t even singing at all imo. It’s sounds more like she’s just talking but with music playing in the background. She’s really, really auto-toned and hearing her “sing” next to truly talented people (like Audra McDonald) is just embarrassing. She is by far the weakest part of the whole film. It only makes the way people have been hyping about her version of Belle all the more silly. What is so groundbreaking about Emma Watson’s portrayal??

One of the biggest problems with her in this role is that Belle is supposed to be the most interesting girl in her village, but EW is about as interesting as a plain slice of bread. She also lacks the warmth, charm and vulnerability of Disney’s animated Belle. EW’s version comes across as bored, snobbish and unemotional. She doesn’t come across as a daydreamer - as someone who genuinely feels like an outsider. Instead she gives off an arrogant vibe that says “I’m not like other girls”. She even says at one point “Oh, I’m not a princess” - and not in a humble way like Ella does in Cinderella (2015) - no, she says it like she actually hates the title of ~princess. As if that were something offensive?? I can’t understand why the people in the village (especially Gaston) are so fascinated by her. To make this more believable Disney should have cast a more charismatic actress.

I could give Emma Watson a pass for what she did to Hermione, but I will NOT give her a pass for what she did to Belle. Mainly because I hate the attitude she’s been having towards animated Belle/live-action Cinderella. These characters are very special to me and I don’t like seeing people put them down. Also, Emma’s brand of feminism is shit and completely old school imo. I hate how much creative control she had on this film. Here are just some other things she did that really annoy me:

1. How can you sign on to do a period film when you refuse to wear a corset/stays???? Like seriously… I hate that her reasoning for not wearing them is because it’s apparently “un-feminist”. Yeah, because it’s super feminist to define women by what they wear. Let’s act like Cinderella isn’t an admirable person because she did house work and wore stays. Let’s pretend women like Jane Austen weren’t total badasses because they wore corsets.

2. Why make Belle an inventor? Why not make her a writer instead? This never seemed like something the animated Belle was interested in. Sure, it’s possible she would learn some of these things from her dad, but it still seems like such an odd character change to me. I might be alone here but this also came across as Emma/the script writers saying to me: If a woman doesn’t invent something or make “history” somehow, then her story is not empowering or even worth telling.

3. And out of all the cool/weird things she could have invented … why a washing machine? I know it’s because she’d rather read books instead, but this comes across as more dissing towards women who do house work. Has this Belle ever washed a dish by hand?? Would it really be so awful for her to just wash her clothes by hand like everyone else?? Even in today’s modern age (with lots of different electric appliances) people still do things by hand.

4. According to Emma, her Belle is an “active princess”, but I can’t remember her doing many other activities except reading. Did I miss something? As far as I can tell Cinderella was way more busy than this Belle was. Ella not only did house work but she also did farm work, horseback riding AND she did it while wearing a corset/flats. Emma promoted this new Belle as “Not your mother’s Disney princess” (this from the recent Vanity Fair issue) and yet I don’t see what’s so amazing/progressive about her version of the character. Throwing away your corsets and exchanging your flats for boots is not enough to “wow” me.

There’s a lot more I want to talk about, but I’ll save that for tomorrow in part two of my review.

Zombie Apocalypse Advice for FanFiction

I’m a fan of stories about the apocalypse, especially zombies and from time to time I check out fanfiction about it. Sometimes it’s to see how the characters from a particular fandom deal with it and other times it’s to see what a fanfiction author does with a story already about the zombie apocalypse. It always nice to read in another perspective and be surprise at the creative ways or spins they put on it.

But just as there are some interesting stories, there are also some that are lacking. It’s not the author’s fault because most of the issues seem to be the lack of research and common sense. By pointing out those problems I hope that they improve the quality of fanfictions about the apocalypse. 

1. In natural disasters and apocalyptic events, many things will stop working (or eventually will after a few days). Running water (this includes toilets); anything that relies on electricity (this includes gas pumps); anything that relies on natural gas lines (this includes gas stoves/central heat); basically, anything that relies on running machines maintain and oversee by people. This includes the internet and cellphones.

The people working on those factories and companies have families too. They’re not going to continue doing their jobs when something big as an apocalypse is happening. So there’s no reason for why your character can still use their phones and other devices that run on such things. 

2. Don’t assume that you’re the only one going to a big super store (like a mall, Walmart, Costco, etc.) or a gun store. It seems like everyone’s survival plan includes a stop at a big store to pick up supplies. It is a smart idea to stock up on supplies, but you’re not going to be the only one with the same idea. It’ll be like Black Friday, where everyone is trying to get something and fighting over it. People get trampled to death over material things on sales, it’ll be worst when it comes to an apocalypse. 

Your best bet is to look into places that people will overlook (little corner stores, restaurants, candy store, etc.). If a place has already been looted, don’t give up just yet, still check everything, especially underneath and behind objects. With the chaos it won’t be surprising to see stuff be knocked over or kicked underneath other objects. If your characters are smart they will figured that out already.

3. Learn how to start a fire without a lighter or matches. It seems too convenient when a character already has a lighter or matches on them. Just what exactly were they doing with it in the first place? It would make sense to have a lighter if they were a smoker. Besides, matches and lighters do run out and the characters will have to learn how to start a fire without them, especially if they’ve been surviving for a long while now. Don’t forget the possibility of them falling in a river or getting wet from the rain, it’s unlikely that matches and lighters are waterproof. To survive you need fire to stay warm, to cook, to boil water and so on.

It wouldn’t make sense for survivors not to figure that out. There are many creative methods to start a fire, a magnifying glass, friction hand drill, fire plough, flint and steel, and so on. 

4. Water is precious, but more importantly always boil it. You can survive 3 weeks without food, but after 3 days you’ll need water or you will perish. The annoying thing I’ve seen in most stories is that the characters immediately find a stream and filled their bottle water and then drink it without boiling it. You can’t trust any water source, because you don’t know if it’s the cause of the apocalypse or if it has been contaminated. 

Always boil the water before drinking or using it because it kills the bacteria within it. It’s better to be safe by boiling whatever water you use. So be sure to carry two separate bottles, one marked boiled water and the other not; as a way to keep the safe boiled water bottle from being contaminated.

5. Short hair is the way to go. It’s makes survival easier to deal with and prevents unnecessary deaths. Having short hair will lessen the amount of time spent on washing it (and you won’t waste as much water and soap on it). It also makes it easier to take care of it, less tangles, and less likely to fall onto your face to obstruct your view. Better yet, you don’t have to worry about anyone grabbing your hair, especially zombies. If you’re having trouble with lice, try shaving it off, it’s exactly what the Ancient Egyptians did when they had lice problems.

So definitely keep that in mind about your characters’ hair length and style. It’s quite ridiculous to read about a girl’s long hair being all over her face and somehow hasn’t manage to block her vision or get grabbed at.

6. Never assume anyone is dead, unless you witness their death (or seen their corpse). In many zombie apocalypse stories, characters seem to assume that a zombie is dead if they’re laying on the ground and not moving. So when the character walks pass or over the zombie, it suddenly grabs the characters and takes a bite out of them (or they manage to kill it before it could). That close call could have been completely avoided if the character didn’t assume it was already taken care of. Treat everything as a threat until you have proven otherwise.

As for assuming if another character in the group (or an enemy) is dead, that really depends. If all the evidence points to the character not surviving, than assuming that they’re dead is understandable (even if they’ve somehow manage to still survive). However, if there’s no proof, just keep it in mind that there’s always a possibility that they’re alive. Don’t discard it as impossible, sometimes impossible things do happen

7. Keep your hands cleans and keep fingernails short. It’s important to keep your hands clean, especially your nails because they'll harbor dirt and germs which can contribute to the spread of some infections, such as pinworms. In an apocalypse, your hands will be often dirty and the last thing you need is zombie blood underneath your nails. Many people don’t realize how often they touch their face, eyes, mouth, and so on. That’s why it’s so important to keep them clean.

Longer fingernails can harbor more dirt and bacteria than short nails, thus potentially contributing to the spread of infection. If you have the habit of biting your nails, loose it quickly! I don’t have to explain why that’s a bad idea. And don’t forget to sterilize equipment, such as nail clipper so that you prevent contaminating your nails again. 

I wanted to mention this because I’ve seen some stories with characters eating food without any mention of them ever washing their hands. Or they touch their mouths and bite their nails in surprise or worry (what’s worst is when they were in a zombie battle earlier). If your character doesn't have the time to worry about the condition of their nails, than have them wear gloves. It is the perfect solution to avoid dirt and blood from getting on their hands and fingernails.

They should also consider getting a mask and goggles to keep their mouth, nose and eyes protected too. Zombie killing will be messy, and blood will be difficult to avoid, especially when you're up close with a melee weapon.

8. Practice safe sex, better yet don’t have sex at all. If you’re a glutton for punishment, then go ahead and have unprotected sex – risk sexually transmitted disease and pregnancy. Then try dealing with that while facing zombies, hostile survivors and trying to survive in a cruel, lawless world. It’ll be extremely difficult for people to find a doctor, medicine or be able to bring a baby into such a world. Also, a pregnant woman would be at a serious disadvantage. She won’t be able to outrun zombies, won’t have the proper nutritious diet which will affect the growing baby, and there could be complications. She’ll have to rely on other survivors to help her out and many would be more concern of their own survival than someone else.

When it comes to kissing I doubt it very much that your character’s mouth will smell and taste like mint, honey, or anything fruity (unless of course, there’s a reasonable explanation like them looting a building and finding a bottle of honey or breath mints). It’s going to be difficult for your characters to keep up their personal hygiene. It’s not attractive to smell body odor, to have yellow teeth, oily hair and all that, but that IS the reality of an apocalypse. 

It’s important to keep up your hygiene (because dentist aren’t going to be there to fix your teeth), but it’s not as essential – at least certain things aren’t. Female characters, however, will certainly be concern about their periods. They’ll definitely need to keep up their personal hygiene when it comes to that. Also, being in an apocalypse will be stressful and it can lengthen or shorten a woman’s menstrual cycle, stop it altogether, or make her periods more painful. Just make sure that each of your characters reflect their struggles of being in an apocalypse. It is understandable that most of the time, hygiene will have to take a back seat.

Overall, if the characters want to have sex make sure they’re being smart about it and know that the consequence will be high (because no method is fool proof). And remember, everything has an expiration date even condoms and birth control pills. 

9. Don’t fight zombies with fire. If your characters is dealing with zombies that can’t be stop by gunshots, missing limbs and starvation – why would they think a Molotov cocktail (or flamethrower) would work? Last thing they need is zombies on fire, running at them and setting them on fire as they try to fight the zombies off. There’s a time and place to set zombies on fire; find an isolated place (without worrying that the environment will catch on fire too) and you’re at a distance away, safe from them ever reaching you. But it’ll probably be better not to play with fire, because you are going to get burn at some point.

10. Have a back up plan. It’s best to think ahead by establishing a back up plan for the worst case scenario. Life in a apocalypse is unpredictable and each day is a battle for survival – to find food, water and shelter. The characters should think of a plan of where they should go if they are ever separated. They should also think about creating a safe code or phrase, in case they’re capture by bad people and they’ll want to warn their fellow survivors without alerting their captors. It just makes sense to at least plan something for ‘just in case’, even if you are in a safe haven.

11. Take turns being the night-watch or lookout. You are most vulnerable at night, because it's difficult to see anything coming at you (plus using a light source will alert everything to your existent – so hide the light or keep it dark). And you will need to sleep, so the last thing you want is zombies sneaking up on you while you are sleeping. Even other survivors are a threat because they could sneak into your camp and steal your stuff, possible even kill or do horrible things to you.

It a lot more safer to set up a night watch with everyone (mostly those trustworthy) taking a turn, no matter if the group you’re in is small or large. And if you’re alone, find a secure and hidden spot where no one or anything can find you. It’ll be even better if you could set up some traps that alert you (and if possible use traps that can alert you without alerting the intruder – such as the glow stick trip wires, which makes it easier to spot in the dark and know which direction the intruder came from) to any threats.

This is something that I’ve notice that is lacking in a lot of stories. Characters for some reason tend to forget about how vulnerable they are at night, especially when they go to sleep. It's ridiculous for them to not set up a night watch or have lookouts when they find a place to rest. It doesn’t matter if the place is perfectly secure, it’s still a good idea to have someone on night watch. The characters don’t know if someone will die from a natural cause, then turn into a zombie and because no one is on night watch, everyone sleeping would get bitten (or eaten), causing a chain reaction. That is why it’s better to be prepare and ready for the worst by having someone on guard. Make sure your characters consider doing this, especially if it’s in their characterization.

12. Don’t trust so easily. Just because it’s a apocalypse, it doesn’t mean that it’ll bring humans closer together. Actually, it’ll be the opposite, bringing out the worst in them. It’s going to be chaos with no one enforcing the law and no fear of the consequences. So don’t lower your guard around other survivors just because they’re dealing with the same struggle to stay alive like you are.

When you think about it, humans are much more dangerous because they’re unpredictable compare to zombies. You know what you’re getting with zombies. You know what they want and what they’ll do to get it, even how to deal with them. But humans…not so much. It's difficult to tell where they stand. They can lie, steal and even murder people so that there are fewer mouths to feed. One of the most important tips for a zombie apocalypse is to be careful who you trust.

Every character should always be caution about other survivors. If possible it’s best to avoid them, or observe them from a distance to make sure if they’re of the decent sort. It just not very realistic when the characters trust every survivor they meet. 

13. Don’t dress to impress. An apocalypse is no time to shoplift designer clothes from stores that you have never been able to afford. We’re talking about your survival here and if you find materials things more important than finding food, water and shelter – there’s something horribly wrong with your priorities. Don’t worry about looking cool or hot for a potential love interest. You need to focus on your ability to run. It’ll be hard to do so in high heels and a miniskirt. You need sneakers, pants, and shirts that will keep you warm and won’t restrict your movement. Staying alive is the only thing that matters, and your characters should reflect that.

They’re going to be smelly with oily hair, their clothes faded, torn and dirty (maybe even patched up a one too many times). Your male characters are going to look like grizzly bears, because in reality they aren’t going to have a clean shaven face forever. Just like hair, facial hair grows too and it’s difficult to believe that they wouldn’t have a beard after a while of not shaving (or not having the time to do so). Your female characters are also going to be hairy, they won’t have smooth legs or bare armpits because they’ll be more concern about their survival. Their hair will be very dull, dry and oily (maybe even be a tangled mess if it’s not put into a braid, ponytail or bun). Unlike what films and television shows portray, the female characters won’t be wearing makeup or have perfectly style hair either. Characters, no matter what their gender is, they’ll be focusing more on survival and not on their appearance.

14. Sometimes smaller groups are better than bigger groups. You’ll want to find a medium sized group full of trustworthy people that can pull their own weight or can contribute to the group in their own way. Too many people can cause issues in the food and shelter department and make it harder to protect, such as keeping track of them all. However, the fewer the people there are could mean that they’ll make easy targets for hostile survivors, but they can also be easier to remain undetected and have less power struggles problems. So your best bet is to try keep your group in the middle.

I often don’t see the number of survivors be much of a factor in fanfiction, but it would be nice to see the struggle each size group might face. It makes it interesting to read about. Even more so when there might be characters in the group that don’t pull their weight and rely on the only person in the group that’s strong enough to take charge. It’s a lot of pressure and depending on the character that the weaker members are relying on, it could result in some interesting situations.

15. Keep a positive attitude. If you’re not careful, your own mind can be your worst enemy, because there is a psychological factor to an apocalypse. Many characters in fanfiction for some reason take to being in an apocalypse really well and act like they’re professionals at it. Realistically, they shouldn’t all be able to accept that it’s the apocalypse so easily. Their minds should struggle with that concept. They should struggle to accept the fact that they lost their love ones, struggle that they had to kill zombies and struggle with the things they now have to do in order to survive. 

It’s normal to be in shock, to be in denial and scared, especially in the beginning of the outbreak. But afterwards, they need to adjust to the changes in the world. Some characters will be better at adjusting to those changes, others not so much, but it depends on your characters. Everyone reacts to stressful situations differently, some people need to to strive for something, such as a goal or something to hope for. Others will distract themselves with the here and now than what will happen tomorrow, because the unknown scares them. They know that their mind will wonder into dark places – wondering if they’ll die tomorrow, if they have enough food, if they’ll get shot or bitten. So they distract themselves with things that will help them to keep focus and sane, like constantly keeping count of (or organizing) their supplies and figuring out which route they’ll take, taking apart of their gun and keeping it clean, keeping their knives sharp, doing some push-ups, writing in a journal, etc. Basically, doing tasks that will keep their mind focus and benefits their survival in one way or another.

It will be even worst when your character is surviving the apocalypse on their own, especially if it’s been a while since they had contact with another living person. They’ll be very paranoid and lonely. They’ll have trouble trusting and adjusting to other survivors again.

Also, take into consideration when the characters loses someone that they’ve gotten close to. That’s not going to be easily to get over, and afterwards most will keep people at distance as to not experience that pain. Some might become reckless, feeling like they lost their reason to keep going (which is why it’s never a good idea to depend on someone so much). Or they numb themselves and force the pain down, instead of grieving properly. It’s understandable that they would need to keep it together, but when they have a chance, they need to talk to someone or cry it out. Otherwise, they’ll be a ticking time bomb, and the last thing a group of survivors need is for someone to lose it, more so when they’re in a dire situation.

Jared Leto x Reader

Author’s Note; Hey guys, this is my very first imagine so I hope it’s ok !! just an update ;; currently I am accepting imagines and this is the only one i’ve received. So please, please, please, feel free to send me some so I can start working on them. 

The checkerboard floor beneath you held no interest as you stared blankly into the distance in an effort to gather your thoughts before Jared arrived. It was supposed to be a casual date night, one in which you were looking forward to due to the fact that you hadn’t seen him in over a month now. With his constant need to explore, be on tour, work with the band, pursue acting, and keep in shape with his friends through rock climbing and hiking, you rarely saw him lately.

When you guys did manage to see one another it was always through skype, snapchat or some kind of electronic device, and truth be told, you found yourself missing the personal aspects of your relationship. You missed his touch, his presence, and more than anything you missed his attention. You could admit that you were slightly needy when it came to him, but you had never truly had a relationship like this one before. 

Casual dating wasn’t really your thing because you were pretty guarded when it came to trusting other people, but Jared was different. His maturity was the first thing you noticed when you met him, and although his fame was a factor to consider while dating him, you never thought it’d be this hard to keep things interesting. You expected him to be gone for long periods of time for work, but not so periodically. It was starting to take a toll. There were times you felt so desperate to see him, that you found yourself intently watching his films. One film that caught your attention more than anything was the infamous Suicide Squad in which he played the iconic bad guy, The Joker. 

You couldn’t explain it but there was something about the character that you liked, something that you couldn’t quite put your finger on. The idea of seeing him so in control, dominant, and possessive only made you long for him more. The subtle fascination he held for playing the character was so obvious for you to see that you wished to see more of it yourself and you were dying to see how he’d react to playing the character outside the studio.

A smile of wicked glee played a gentle symphony on your face as you thought of the perfect way to spend his first night back from work. - - it seemed simple enough to plan considering roleplay was said to be a “normal” change in the sex lives of couples all the time, so why did you feel yourself growing more and more uncomfortable the closer the time ticked down for him to be there? It was like being slammed with a final exam that you didn’t study for or get a chance to peek at the notes for.

uncertain irises slid down your frame in the mirror as the lingerie you bought clung to your body in ways you couldn’t object to. A gentle turn to the side exposed your curves in the most magnificent light and the black lace was perfect against your skin. he was going to love it. pale lips were turned crimson, eyelashes were relentlessly curled, and hair was pushed back perfectly.

“Hey Babe…..” his voice rang through the forefront of the house while hitting your ears with a resonating sense of panic as you realized it was time to talk to him about your new found fantasy. There was no way possible that he would be able to say no while you looked like this. It was quiet for a few moments before you heard his foot steps shuffling down the halls in pursuit of finding you, but you weren’t quite ready to reveal yourself just yet. Instead, a deep breath slid through your lips and rattled your lugs as you slid your hands down the knee high silk robe that covered your frame. You didn’t want to give him a heart attack and show it all to him at once, you had to ease into it, make it sexy. 

You emerge from the bathroom with a new found sense of confidence as you leave the robe slightly open in the front to give way to the valley of your chest and the lace decoration of your bra. “Babe….” you heard him repeat, this time with a sense of urgency. Your irises meet his when you step foot into the hallway and lean against the doorway admiring him. He froze, a deep red rose in hand, and a facial expression that looked as though it were drenched in cold water. was he in awe? 

“Hey Puddin’” you joked in hopes of getting a response from him, but his stare turned dark and his arm extended slowly in attempt to offer the rose.  His eyebrows furrowed in a look that resembled confusion and his fingers lingered on the rose as if he was lost in his own thoughts. Blue orbs traveled your skin as if they had fingers, touching you in places you weren’t ready to reveal to him just yet. “What?” he questioned with a slight chuckle behind his voice. His arm remained extended as he spoke and you instantly felt the blood behind your cheeks boil giving way to the boundless blush that took over nearly half your face. His stare was familiar the way it embodied the definition of dominance; it was exactly what you wanted, but as quickly as it had come, it was gone. It was swept away by the curiosity that riddled through his frame. 

“Nothing, I just…..I missed you.” You answered pulling the rose from his hand softly before using your free hand to grasp a hold of his. Your index finger intertwined with his as you led him in the direction of the bedroom. So many months had gone by without him and the need to have him only grew with him being in the same room as you. There was only one thing on your mind and the quicker you could convince him of what you wanted, the happier you both would be. 

He smiled and you could feel his eyes on the back of your frame, watching you intently as if you were about to reveal to him the location of the holy grail. “Mmmm, i’m sure ya say that to all the boys.” he joked and you giggled while setting down the rose on the night stand next to the bed. “Nah, ya know you’re the only man for me Mr. J.” you teased again and you felt him halt. You could nearly hear the click in his head as he gathered what was happening, and you could feel his eyes burning holes into your skin. You refused to turn around to face him, but his hand dropped from your smoothly. You closed your eyes softly and adjusted your weight in an attempt to prepare yourself for his reaction. 

his arms folded across his chest and an eyebrow arose in a look that mocked impatience. Your name slid from his lips in a tone that alerted you of his urgency to know what was happening and you found yourself finally turning around to face him with your fingers interlaced with each other. You felt as though you resembled that of a guilty child as you picked at your index finger in an attempt to keep from looking him in the eyes. “What is going on?” He questioned, his voice stern. 

After a few moments of avoiding his gaze you felt the heat from his body grow closer to yours and his finger planted itself firmly below your chin. You had no choice but to look at him now and the expression on his face nearly sent you into a pooling mess of goo; he wanted an answer. “I …” It was embarrassing now. A part of you wanted to tell him exactly what you wanted, but would he think you were insane? Did you really want him to basically do his job, after all those months of being away from home, doing his job? Being home gave him the chance to relax, be HIMSELF, yet here you were asking him to be the Joker. It wasn’t fair. 

“I was just kidding. I wanted to mess with you.” you lied while shaking your head slightly to dismiss the influx in anxiety that refused to leave your body. He tilted his head back at your words, and his eyes focused in on your face as if he knew you were lying. His tongue licked at his lips before they fixed themselves into a hard line, it seemed like your answer wasn’t enough for him. 

“Explain.” he said simply before connecting his eyes with your own. He was always ruthless when he wanted to know something and his stare remained focused on your face with all hints of arousal gone. You bit your bottom lip and ended the assault you had placed on your fingers by twirling them into each other relentlessly in an effort to end your anxiety. “I just….I wanna try something different.” you admitted pushing a piece of your hair behind your ear and inching towards the bed to sit. You reached for his hands, forcing him to sit with you, and he smiled. He was enjoying your discomfort while eagerly awaiting what you had in mind.

“Like what?” His eyebrows flexed again. 
“I watched one of your movies, the suicide squad one.” you answered. 
“And….” He pushed.
“I liked it and I ….wanted to try something.” You shrugged.
“So you’ve said…..” he smiles wider.  
“I looked it up. They said, it’s normal for couples to roleplay and try different stuff to keep things interesting, and I thought we could try?” You respond questionably. 
“You want me to be the Joker for you?” He asked, not being able to hide the laughter that seeped through his words. 
“I mean…’s stupid and you don’t have to.” You retreat, but he pulls his hands to yours in an effort to keep you close. 
“Tell me what you want.” He demanded, focusing his eyes in on your lips. 
“I want you….like that.” you answered, referring  to the movie. You had never really done anything with Jared outside the normal vanilla scheme of things, but you were beyond interested in trying. “You said you had fun in that role. You were all dominant and ….sexy, but if you don’t want to, we don’t have to.” you suggested, but his demeanor changed. It was so subtle that if you had looked away for a moment, you’d have missed it. His frame moved next to you as he stood up. His eyes were different again and the look that overtook his features nearly made you smile as it resembled that of the joker in the film you’d grown obsessed with over the past few days. 
“Stand up.” he said, barely above a whisper and you did as instructed. His arms extended out in front of him on either side of you and instead of his fingertips touching you they simple outlined your shoulders as he smiled. 
“Take it off.” he requested, his eyes never leaving yours. Without a hint of hesitation you gathered the sides of your robe after opening it, and allowed it to fall from your frame as you exposed yourself to him.

There was a hum at the back of his throat that nearly came out as a growl while his eyes roamed your skin. The hint of a smile on his lips spoke to you in places that you thought you’d long died in his absence, but ever so painfully they sprung to life without a sense of remorse. your pearly whites attacked your bottom lip as you looked down at the crumbled up fabric that just left your body and you heard him speak again.

“Ohhhhh, smile for Daddy.” his voice was deeper now, more raspy as it hit your ears and you found yourself falling slightly in love with it. A soft smile hit your features at his request and the pleasure that soaked his face in response to it only made you even more in need of his touch.

“Do you trust me?” he questioned, in that voice again. Your eyebrows furrowed in confusion as you stared up at him. “Yes.” you answered simply before he tilted his head back in dissatisfaction. “No, that’s too easy.” he answered, placing up his hand slightly and looking off to the side as if he were deep in thought about something else. “Do you…..surrender yourself, to me?” He questioned, this time with a more serious undertone and you tilt your head to the side. Was that even a question? “Mmm?” he persisted further while raising a brow. “Yes.” You answer again. “Ask me…” He demanded and you smile. “Please…..Daddy.” His breathing picks up, his face tightens, and his eyes lower in a way you had never seen them do before. He was pleased. “Such a good….girl.” He mused pulling his fingers together into a fist in front of your eyes and outlining your face once again as if he wanted to touch you, but didn’t. “Hold out your hands.” He instructed, and you did as you were told. 

The gentle fabric of the tie he used to bind your hands together rubbed against your skin like the feeling of silk and you couldn’t help the small giggle that resonated through your lips as you watched him. His fingers were so skilled in wrapping it perfectly around the flesh of your wrists and forearm that you started to wonder how often he had done this. It was snug, and tight, but not uncomfortable. He spared no remorse when it came to leaving you room to move around. 

You were on the bed faster than you could take a breath and It didn’t take long before his hands were finally on your skin. His lips trailed down the front of your frame with a mission to cause nothing but pleasure and you could feel yourself coming apart at the anticipation of what he was going to do next. His lips trailed down the valley of your breasts, to your belly button and he suddenly stopped before he reached your bikini line. “Keep quiet or I will punish you.” he spoke sternly, looking up from your skin and into your eyes. You bit your bottom lip as a silent agreement and he continued his assault on your skin. 

You couldn’t stop the hopeless gasps that rocked through your lips at the feeling of his tongue on your thighs, or the teasing breaths that covered the top of your clit. You were positive that your wrists would be bruised by the time you two were finished and your hopeless attempts of reaching for him were in vain as your hands stayed tied together to the bed post. The feeling of his lips finally coming into contact with your lower half nearly sent you into a frenzy. Limbs stiffened, eyes snapped shut, and air was a mere myth to your lungs. 

It only took a few seconds before a moan slipped through your lips and suddenly all movement stopped. You whimpered delicately at the lost of his touch and found yourself arching your back in an attempt to get closer to him. Your actions were futile as you watched him hover above you with his hand resting firmly on the binds that kept you in place. “What did I tell you?” He questioned tilting his head to the side in an expression that mocked confusion. You didn’t speak and his grip tightened. “What. Did I. Tell you ?” He asked again, this time slowly pronouncing the words as if talking to a child. 

“Not to make any noise.” You answered simply.
“And if ya did?” He continued.
“You’d punish me.” You replied.
“Mmmmm, so what. am i going to do. with you?” He asked more so to himself than to you as his eyes slid down your frame again. You were unprepared for the feeling of his hand around your neck, but you didn’t object to the feeling of it. 
“Since YOOOOOOU don’t want to follow the plan, YOOOOOOU don’t get to cum. You understand?” He asked.
“….But….” his eyes narrowed and you nodded. 
“Tell me you understand, Princess.” he requested. 
“I understand.” He smiled in response before moving his hand back down between your legs. His fingers performed magic between your thighs, leaving your mouth as nothing but a gaping hole of moans, gasps, and pleads. You were surprised when you felt his hand tightening around your neck and although you began to like it at first, it seemed like with each second that passed by, he refused to let go. Finally, his hand was squeezing so roughly that you nearly felt yourself pass out at the lack of oxygen. Even though you asked him to stop, he didn’t. 

“Jared……stop…” your plea went unacknowledged until you practically yelled “STOP!” between gasps. His eyes widened and every movement in his body stopped. Was it not clear to him that you were uncomfortable now? 

“Get these off, take them off.” You urged wiggling your hands against the ties that kept you in place. His hands were quick the way they untied you and you instantly pushed him off as soon as you were free. 

“What’s wrong?” his hands were opened as he sat against the bed nearly across the room from you now. 

“What the hell was that?” You ask, pointing your finger to the bed where you once laid beneath him. 

“I was just doing what you asked…..” he spoke while standing to his feet and taking a step towards you.

“No….don’t come near me.” you urged placing up one hand, palm forward in an effort to regain space between you. Your name was whispered from his lips as if he were speaking to a wounded animal and you shook your head.

“I just….I need a minute.” you plea, heading to the restroom to gather yourself. 

Darkiplier vs Antisepticeye Fight?

So I’m sure by now everyone and their mother that is on this website knows about the Dark vs Anti video that Mark put out on his channel. Initially, I believed they were going to fight by doing stupid shit to win fans over and gain a bigger following, and in turn, more power. Despite that not being the case, I still loved the video like thousands others have.

However, after watching the video, I thought to myself: How would Dark and Anti actually act in a real fight or when faced with a common enemy? As I watched the video, I did take note of a few key traits between the two that stayed somewhat consistent throughout. I’m also taking into account what Mark and Jack have given the community as far as actually canon traits and such.

Let’s start with Anti. Anti is as Jack has stated in the past an entity with many different traits/appearances that he has based off of what his community has created. However, Anti’s attitude was mostly Jack’s doing. He DID take some things from the community (like the bloodlust, crazy intentions, etc.), but most of it was his own interpretation. Now if we take this into a fight, Anti is unarguably insane and cares little for his own well being physically since he is essentially possessing Jack’s body. This and his glitchy/twitchy movements to me would prove to make him a tough/difficult opponent to catch and in turn fight. His weapon of choice is obviously a knife as we saw him holding it on several occasions. As far as power goes, I believe he is an incredibly powerful being, more so than Dark (at least for now.) Anti may not have a lot of physical powers aside from possessing the ability to glitch into electronics/videos, but the fact that he has appeared in more videos than Dark (lately anyway. I acknowledge Dark is older by origin, but Anti has more screen time overall) and is able to possess Jack so often and for seemingly long periods of time, this says to me that he has a lot of power.

Now Dark. Dark is an interesting character because unlike Jack, Mark decided to have more control over what Dark is and how he functions. As Mark has stated (I think on a livestream), Dark is his own being and not like Anti in a sense that Anti possess Jack’s body. Mark and Dark both have their own bodies basically as is shown in the A Date with Markiplier videos. However, what is also shown in those videos is Dark saying, “He can’t keep me away anymore.” (or something along those lines.) This implies that Mark has some control over Dark and his ability to be present in our realm and interact with us. As far as Darks personality and traits go, Mark has also given his perception on these as well. Dark is unstable. Mark states that as put together, “calm” and “collected” Dark acts and looks, he has times where he sort of snaps and his “true nature” is shown as him yelling and trying to break free of his shell. Dark takes a lot of energy to keep himself together and sometimes he slips. What Dark can actually do if that control is lost, no one knows and Mark hasn’t addressed that at this point (to my knowledge.) But, Mark has also stated at some point that Dark is basically everything Mark is against bottled up into one being. Dark is manipulative, selfish, and unstable and if you think about it, these are the main reasons why Dark is the antithesis/opposite of Mark. Dark’s powers are something that is somewhat unknown however. Dark obviously has the ability to manipulate things around him to his own selfish desires including objects. He also seems to have the ability to mess with someone’s mind/vision which is why we see the RGB glitch surrounding his body and the distorted vision that the viewer gets in his presence. But if there is anything else he can so, no one knows. Now as far as weapons go, Mark hasn’t hinted at that either. In a scene from A Date with Markiplier, Dark and Mark seem to be at a loss of what to do and try to get you to shoot the other when you have to choose which one of them to shoot. If you shoot Dark, he “dies” in that scene and you get the vanilla ending. However, there is a tinge of vision glitches at the end which obviously leads you to believe that Dark isn’t dead. Knowing this, we can say that while Dark may be susceptible to regular death, he seems to be immortal. Finally, Dark’s overall power. As old as Dark is, I don’t believe he is more powerful than Anti. They may be very close in power levels, but Dark hasn’t had nearly as much screen attention or time as Anti. I mean, Anti was at PAX for crying out loud. However, like I said above, we don’t know what’s under that cracking shell of Dark’s and how much power he actually has, so who’s to say he couldn’t absolutely annihilate Anti?

In a fight, I would lean towards Anti as things stand now, but there is still a lot we don’t know about Dark so in all honesty, it’s a toss up.

Only time will tell I suppose.

anonymous asked:

any thoughts on kevin/riko??

Not to be salty and overdramatic, but I exclusively ship Riko with periodically being raised from the dead, in pain and aware of how his own brother killed him the first time he met him, and then only living long enough to die a slower and more painful death each time.

Riko is just such a sadistic character and he literally controls people through torture and breaking them. And he had Jean raped by other Ravens to torture Jean without (in his eyes) stooping low enough to get involved in any homosexual activity. So, like, I can’t really see Riko trying to get with any guys himself. And I can’t see anyone deserving to suffer through being with Riko in what would definitely be an abusive af relationship. And with Riko/Kevin it is abuser/abused and that is definitely not my kind of ship.

anonymous asked:

Theres a sizable portion of my story where the main characters go through training of various sorts; two of them are training in combat and to become symbolic leaders of a revolution and the other is being taught to control his new powers. This comes relatively late in the story and im worried that since theres really no montage equivalent in writing itll get boring. I planned to maybe put some romantic tension in, but will that be enough?

Author Wesley Chu tackled something similar in his book The Lives of Tao. He used the training period as a means of fleshing out the MC and building bonds between him and other important characters. So, at the end of that section of the book, the main character changed both physically and mentally. Authors write about extensive training periods quite often. Suzanne Collins, J.K. Rowling, Jim Butcher, Veronica Roth, and many more exploit this plot point to show differences between characters, strengths and weakness, and character development. Training times are excellent for showing growth, since it’s a time for literally nothing more than learning and improving. If you can reliably write how your characters change and grow during what I am assuming to be a particularly grueling time in their life, there is no reason to think that it will be boring. Your main character is learning how to control his new powers, so how is he dealing with the new responsibility that has been suddenly thrust upon him? How do they feel about becoming a symbolic leader? Both of those points are a lot of pressure to put on a person. There is definitely room for some emotional growth during that training alone. Since you say that this training comes relatively late in the course of the plot, think about how the added stress of the prior events affects their well being. Are nightmares or flashbacks affecting his ability to train? Is there any unchecked rage towards a certain group or person that has yet to be tied up? There are so many directions in which you can go to expand on what you have already written. 

If your characters knew each other beforehand, how does the training affect their friendship? If they didn’t know each other, how do they react being forced together in such a way? You characters could become completely different people because of the training and have to build their friendship from scratch. That last example was somewhat cliched, but it would add emotion and spark to your work. Since I do not have the full picture to your plot, I want to refrain from plot point suggestions. Just keep in mind the pressures that your characters will be under in this situation and how they react. 

As for the romance, I’m generally not a fan of adding romance when the plot doesn’t necessarily call for romance, but if you find that it is fitting for the plot and situation, go for it. I find that too many novels add romance just for the sake of pleasing a certain audience. When romance is shoved into a piece where it is not quite fitting, it tends to seem forced and takes away from the rest of the plot (read my mini-rant about sex scenes in media here). On the flip side, however, romance that is done right can be heartbreaking in the best way. If a few of your characters begin to develop feelings for each other and are pitted against each other during or after their training, that adds a special type of conflict for your characters. If one of the romantic interests is deemed to be unfit for the job, how do your characters react to that situation? There are so many roads that you could take to add drama and tension without making seem frivolous. 

If you decide to add romantic tension to your story, but it doesn’t seem like it’s enough to be interesting, it might be time to take a slightly different direction in your writing. Continuously adding different plot points to try to liven things up can lead to the storyline becoming cluttered and hard to follow. It is best to keep things simple and cause tension through the characters’ personal and interpersonal struggles. From the small taste of your world that I was able to glean from the question, I can imagine a great number of areas from which you will be able to draw fuel to keep your story interesting.

xx Sarah

anonymous asked:

How does Luxembourgism compare with Marxist Leninism, strains of Maoism, etc?

There’s an emphasis on council communism – the tendency positing that democratic worker councils are the ideal organizational structures of working class mobilization against capitalism, rather than a vanguard party. Libcom describes the tendency thus:

The central (and simple) argument of council communism, in stark contrast to both reformist social democrats and Leninists, is that workers’ councils which arise in workplaces and communities during periods of intense struggle are the natural form of working class organisation. This view is completely opposed to reformist or Leninist arguments which stress that the working class are incapable of doing anything by ourselves and need to rely on vanguard parties, ballot boxes (and the capitalist state institutions that both of these entail) to sort out our problems.

These conclusions lead council communists to maintain very similar positions to those held by class struggle anarchists and revolutionary syndicalists with the main difference often, but not always, being a commitment to Marx and his methods of analysis. As such there are historical and present day instances of close cooperation between the two currents, even to the point of many inspired by council communism becoming members of class struggle anarchist and revolutionary syndicalist groups.

Following from this, council communists argue that society and the economy should be managed by coordinations of workers’ councils, made up of delegates elected at workplaces and can be recalled at any moment by those who elected them. As such, council communists oppose bureaucratic state socialism. They also oppose the idea of a revolutionary party seizing power, believing that any social upheaval led by one these ‘revolutionary’ parties will just end up in a party dictatorship. Otto Rühle, a key contributor to the development of council communism famously penned that the revolution is not a party affair.

Instead council communists believe that the role of a revolutionary organization is not to perform the revolution for the working class, but only to agitate within the class, encouraging people to take control of their own struggles through the directly democratic institutions of workers’ councils.

We’re few and far between these days, though, with most leftists leaning more towards anarchism or Leninism. Many have argued there’s a “middle ground” character to Luxemburgism/council communism and have typically placed it somewhere in this broad range on the political compass:

There isn’t always a direct opposition to the state in some (directly democratic via a worker council base) socialist transition period. We’re typically labeled under the libertarian socialist branches, but there’s still a strong emphasis on Marx and Marxist analysis (so libertarian Marxism). As far as I’m concerned, council communism is the truest realization of Marx’s ideas; in revolutionary situations, democratic councils are a natural formation for workers to take. I’m content organizing with both MLs and ancoms, but I ultimately believe some broad conception of councilism will be the world’s ticket out of capitalism.


Accurate Typing: The Inferior Function

Read the full Function Theory Guide ( for more detail, including notes about common typing issues.

The inferior function is opposite to the dominant function, so the two functions generally pull you in opposite directions, feeding you conflicting information about the world. If the dominant function is your true self and who you want to be, then the inferior function is the dark aspect of your personality, the part of yourself that you do not understand very well, the part of your personality that you are prone to avoiding or rejecting. Due to long term reliance on the dominant function and always choosing its goals and desires, the goals and desires of the inferior function remain submerged in the unconscious mind. However, according to psychoanalytic theory, mental activities that are too repressed in the unconscious mind have a way of exerting themselves underhandedly when you least expect it, which implies that the inferior function is not truly “inferior” but actually quite powerful in ways that you do not fully grasp.

Keep reading

miiumilk  asked:

My character is a young boy, about 12 years of age, who has a case of currently undiagnosed BPD, as well as ADHD. He lives in a small house on secluded land with his mother, an abusive and overall sadistic woman. Taking inspiration from his severe autophobia, she has the idea to lock him inside an empty white room, for a minimum of a week. Her intention is to have him believe that this is what would happen every time he dares disobey her. What would happen during and after the incident?

OK so I’m going to preface this with the fact I’m not a mental health professional and I know next to nothing about BPD and ADHD. I am not even 100% sure what BPD stands for.

So my answer is assuming a neurotypical brain, it’s also mostly assuming an adult because the research I’m drawing on was on adults. Generally speaking both his age and his conditions would make all of this worse.

How bad this is depends a little more on the conditions in the room. This could be simple solitary confinement or it could be closer to Baldwin’s box sensory deprivation.

Baldwin’s box (which confusingly wasn’t created by Baldwin) is one of the classic sensory deprivation set ups. It’s a small, sound proof room, with padded walls. The person inside is kept in the dark and sometimes they’re kept in mittens and white-noise generating head phones. Strictly speaking it doesn’t work by depriving the senses but by masking any source of sensory stimulation.

A week is very close to the maximum amount of time anyone has voluntarily spent in Baldwin’s box. It would represent an extreme torture and would likely have severe and lasting effects on a child that age.

In experiments by Ewen Cameron (on unwilling, adult psychiatric patients) that sort of time frame was long enough for victims to forget where they were and who the doctors they were. When Cameron’s victims were followed up years later 60% of them had lost huge chunks of time immediately after ‘treatment’.

The time they were in the box varied (and the paper doesn’t compare the intensity of torture to later memory loss) and so did the length of time ‘lost’. But the longest time in the box was 35 days. The longest memory gap was ten years (the shortest was six months).

Experiments with volunteers suggest that one and a half days is the average most people can stand, if they know they can leave at any time. If they don’t know how long they’ll be in there people can start showing negative effects within two hours.

I believe a week would cause extensive damage to a child. To the point where they would probably have to be committed to a specialist facility.

Self harm and attempted suicide certainly wouldn’t be unusual in this scenario.

Solitary confinement would still be bad but something the character would be more likely to survive.

There’ve been a fair few experiments that suggest periods of ten days or less in solitary confinement aren’t harmful. But these were on willing adult volunteers.

And we know that volunteering and being able to leave the experiment at any time are two factors which let people withstand solitary for longer periods.

Factors that make it worse include pre-existing mental illness and not knowing how long he’ll be locked up.

So- essentially the fact that he’s a mentally ill child with no control over his current situation would mean that solitary for a week is likely to have some serious effects.

Because he’s a child and because from your description a lot of his life is just beyond his control- I think that the main effects would be in the anxiety category. This is going to terrify him.

He might also show some depressive symptoms, mood swings, hopelessness and may even panic attacks, during confinement.

I don’t think he’s likely to hallucinate in that time period if he’s allowed to sleep in the dark and the room isn’t sound proofed. Unless hallucinations are symptoms of his pre-existing conditions. If they are, solitary could exacerbate them.

He might self harm in small ways, scratching or punching and kicking the walls. Anger and irritability would also be normal.

Afterwards- well most people recover very quickly from one week solitary, with symptoms dissipating in the first day of release. However he’s being ‘released’ into a dangerous environment with the person who locked him up in the first place. So in this case I don’t think I can swear that he’d recover from all those symptoms. They very much overlap with symptoms of long term abuse. Which means that his symptoms will be difficult/impossible to separate out: he’s not suffering a single trauma but multiple traumatic incidents over the time he’s abused.

That means he’s both more likely to show symptoms and they’re more likely to be severe and long lasting.

I do think that putting him in solitary will make him ‘harder to handle’. In a jail setting solitary can actually make prisoners more aggressive and confrontational towards the guards in the long term. It might make him more likely to be violent towards his abuser and the mood swings especially might last for a long time.

My advice is stick with solitary not sensory deprivation.

Aside from the greater impact on the character, sensory deprivation would be harder to set up. It is relatively easy to paint a room white and lock the door. Installing good sound proofing and padding is not simple and I imagine it would be expensive. It’s also not the sort of thing that your villain would be able to get help to do (assuming a setting where she might be prosecuted for abuse).

Solitary will hurt your character but sensory deprivation, especially long periods and repeated incidence- that going to maiming them.

It wouldn’t be ‘wrong’ to use sensory deprivation, it’s your story. But you should be aware that if that’s what you want to do it’s going to make things a lot harder for your character. Possibly for the rest of his life. I think solitary gives you more options in terms of the character’s symptoms and recovery.

I’m going to leave you with a link to Sharon Shalev’s ‘Sourcebook on Solitary Confinement’, which should be helpful to you either way. The chapter on health effects also covers some sensory deprivation experiments (with volunteers).

I hope that helps. Good luck with your story :)


After a recent brief talk about Arcann and Valkorion (well, Vitiate), I started to list characters that are broken or controlled in some way that can be saved that I’ve found. 

Tol Braga
Syo Bakarn
Vivicar/ Parkanas Tark
Nalen Raloch
Duras Fain
Eriz Vossan
Cin Tykan
Bengel Morr
Ako Domi

I’m adding the former members of Havoc Squad because, while they do not fit as “broken”, they feel they were betrayed and acted on that. Giving the survivors their own section because it’s not quite the same, but seems similar:
Harron Tavus
Vanto Bazren
The old mentor (can’t find his name at the moment)

Master Surro
Sidonie Garen
Yuon Par
Leeha Narezz
Kira (arguable, since the real period of control was brief and she saved herself, plus she’s a companion so can’t die)

If we only include the characters that did Bad Stuff while broken but can still be saved and forgiven, my current feeling is that we remove all the women and some of the men. Most of the men that fit that description die, as well, but currently it seems like ALL of the women do.

I wasn’t going to put this up until I had done more but I commented about Thexan that his being alive in-game without other changes would bother me. It would confirm a growing suspicion. This was what I was referring to. Especially if we find that he wasn’t even broken but we accept him into the Alliance, because, let’s face it, he did Bad Stuff.

HEAT (Liam) (Part 1)

A/N: (Y/N) and Liam are best friends and the new betas to Scott’s Pack, they were told that they were going to be in heat each month, yet they don’t know how bad it’ll be…

WARNINGS: swearing (like one)

Characters: (Y/N), Liam Dunbar, Scott McCall, Stiles Stilinski


*Not my gif*

•Scott’s p.o.v

“So baby betas ready to learn something?” (Y/N) and Liam nodded looking pretty scared “So each month you’re going to go through a heat cycle, except (Y/N) if you are on your periods, well you won’t be as horny as a normal heat cycle, but your emotions will be more sensitive.”
“Wait a second, did you say horny?” Liam asked me “Yes I did, but with experience it will become easier to control, don’t worry” “Well I guess it’s good that I got my period last week” (Y/N) said “It depends of you” “I’m sure it’s not that bad” Liam said like his normal jackass face *gif*

*Bell rings*

“You better not be late to class” Stiles said. “Did I tell them everything?” “Yes you did except how bad they’ll cringe sex, how they’ll want to jump on everyone, how masturbating will not help, how they need to use protection, because let’s be real, we do not want more baby betas running around including the fact that they’ll be baby baby betas and you forgot to give them ‘the talk’” “Thanks Stiles for making me more anxious, we should get to class to if we don’t want detention” “You’re welcome Scotty boy and yeah we should get going”


Later that day

Liam’s p.o.v

“(Y/N) I know we have been bestfriends for years but I need to tell you something…” *knock* Oh god that’s her I need to stay calm, no not right now boner, fuck.*knock* *door opens* “Liam are you here, because you texted me and…” “Y-Yeah…up…up here…in my room you know where it is” I cut her off then I herd foot steps coming upstairs “May I come in” “ Yeah you know you can” *she opened the door and closed it behind her* “I think I know what the heat cycle feels like” “Okay how?” Without giving me an answer she jumped right on me, straddling me and kissing me. Of course I kissed her back, why would I not kiss back the girl I loved for years the one who I had a crush on for years and the one who knows me better than everyone even myself…


I know it’s short for now but do you guys want a part 2 if yes please request it and yes if there’s a part 2 there will be SMUT, but for now I want to know if you like that.

-Forext xoxo

I honestly think Dylan deserves so much more credit for his acting on the show especially during season 3b like there was such a distinct difference between Void Stiles and Stiles and you could definitely tell when the Nogitsune had taken over because he adopted a whole new range of mannerisms that were so well suited to that other side, but he still maintained all of Stiles’ mannerisms when he regained control and I seriously think he needs so much more credit for that because it’s so difficult to switch between two vastly different characters in such short periods of time like he was jumping all over the place with those two characters within the same scenes and I think that’s just awesome

Technological Disparity

I was thinking about that random, inexplicable Steam-Ship in Deltora Quest: The Maze of the Beast, and I realized something.

It’s not actually all that inexplicable.

By looking at the world of deltora as a whole (as opposed to the continent of deltora), it has suddenly become apparent to me that it’s not the steam boat that is out of place, but rather the technological deficiency of the entire continent of Deltora.

In every book Emily Rodda writes for this particular world, the main characters always start out in a socially or in some cases physically secluded area. Lief was in the city of Del, who lost contact with the outside world for approximately 50 years, maybe more, and only became more secluded during the period of time during which the Shadow Lord executed direct control. Rye of Weld lived in the walled nation-state of Weld, which had absolutely no contact with the outside world for about one or two thousand years, and further had a shockingly low metal content. Rin is a tiny village whose very existence is probably some kind of Maris national secret. All of these places, by their very nature, would have a lower technological level than the outside world, simply due to lower degrees of interaction.

Lets look at the notably more advanced technologies we have seen in the series. I will leave out the Shadow Lord’s technomagical machinations, as the comparison is hardly fair in that case.

There is, of course, the steamboat. It’s presence in the river isn’t all that strange, even considering the later use of the Star of Deltora in the series of the same name (a ship which appears to follow a late Renaissance design) as steam ships are only really effective in rivers, and would be unfeasible in the open water, at least not until modern-era ships start developing. Even so, it is canonically established that the Star of Deltora is around 40 years old by the time the series of the same name starts, and around 20 during the events of the original series. At least. This means, even if steamboats were feasible in the open water, they would still be in production, and likely not have fully phased out the wind-powered ships.

Further, we see evidence of massive technological advancement on the island of dorne, at least outside of Weld. The Fitzfee clan was shown to have developed a number of complex technological marvels, from intricate clockwork music boxes to actual flamethrowers. Many of the item’s in Tom’s shop can reasonably be assumed to have had their origin in Dorne, as Dorne is the only island known to have possessed both a large supply of working sorcerers (creators of miscellaneous magics such as the Sky Sphere) and techsmiths (clearly the Fitzfees). Thus, we can infer that perhaps some of the seemingly magical items in tom’s shop, such as the water eaters, may have actually been technological or alchemical in origin, raising the bar for the world’s average technological level even higher.

The island of the Zebak was certainly the home of an advanced, dare I say almost MODERN society, in stark contrast to the medieval-ish inhabitants of Maris. I mean, they literally live in a city made of solid sheets of metal, and have internal plumbing, as well as complex breeding techniques. Depending on how you look at it, they may even have developed hypnotism techniques. This makes sense, given that it seems to be the nature of the Maris to avoid contact with those outside their island, be suspicious of virtually everyone, and constantly wallow in tradition which was originally designed to keep them from killing each-other but has slowly been corrupted by their suspicious nature to stagnate their society. The Rin and the Travelers can hardly be at fault here, as they have neither the population nor the resources to develop technology to any reasonably extent (though the travelers evidently developed personalized gliders which work with their magical wind control, which is pretty impressive under the circumstances). In contrast, the Zebak have a large population, a strong desire to expand, and a desperation for more food resources, which is probably what fueled their rapid increase in technological development, despite the fact that I doubt anyone would ever willingly trade with them.

Even the people of Weld who I mentioned earlier are not without some impressive developments. Because their magical talents are masked by the rigid structure of their society and of their communities themselves, they have turned to other means for healing, developing a medical system which closely mirrors western medicine.

In other words, it’s not a matter of the steam-boat being to advanced for the world of deltora, but rather a matter of the continent of deltora being conspicuously underdeveloped technologically. And I think we all know the reason why that is the case. I’ll say it anyway, though: the Shadow Lord.

It would be in the Shadow Lord’s best interests to limit the level of technology his subjects had access to. After all, he can easily track powerful magic, but technological threats have a way of perpetuating themselves in a knowledgeable populace. Ultimately, he sees the nation of Deltora as a mining operation, from which he would gain food, weapons, and magical soldiers for use against the other islands. Thus his plans would not benefit from his slaves gaining high level technology. Further, his efforts to eliminate literacy in Deltora as a form of magical defense against the Belt and Adin’s heirs would have a secondary effect of limiting the spread of technology significantly. The only two places in the original series where we actually see advanced tech are in places which the Shadow Lord has limited control at best: Amethyst territory and Tom’s shop.

So that is why there is a random steam-boat in the river broad.

What do you think? @dragoninmypocket @rithmeres @deltoraquest-blog @jemthebookworm

Why I Like Gamzee Makara

by lackadaisicallexicon

The Bard of Rage is among the most divisive characters in Homestuck. Many view him as misunderstood, endlessly apologetic for his actions; others view him as nothing but a villain worthy of the worst kind of perfidy. And yet, much like his capricious class, Gamzee skirts the line between genius and tomfoolery, terror and humor, so effectively that there’s only one way to explore his character for the reasons I love him—to follow in his footsteps.

Let’s McFreakin’ lose it.

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“…egalitarianism and despotism do not exclude each other, but usually go hand in hand. To a certain degree, equality invites despotism, because in order to make all members of a society equal, and then to maintain this equality for a long period of time, it is necessary to equip the controlling institutions with exceptional power so they can stamp out any potential threat to equality in every sector of the society and any aspect of human life: to paraphrase a well-known sentence by one of Dostoyevsky’s characters, ‘We start with absolute equality and we end up with absolute despotism.’ Some call it a paradox of equality: the more equality one wants to introduce, the more power one must have; the more power one has, the more one violates the principle of equality; the more one violates the principle of equality, the more one is in a position to make the world egalitarian.”

— Ryszard Legutko, Triumf człowieka pospolitego

(A table of contents is available. It will be kept updated throughout the series. This series will remain open for additional posts.)

Part Three: Determining Length

“When students ask me how long a story should be, my first response is to say however long it takes to tell it thoroughly.” -Sue Hertz

“Write until you have told the story you set out to tell. Your story will determine its length.”

Story length is a common concern for writers, new and old. If you’re setting out on a journey toward a full novel, you want to be sure that you’re writing with a word goal in mind since different genres tend to have a better chance of being published if they are a specific length. That may be true, but the most common answer givers of writing advice dole out to the ol’, “How long should my story be?” is that it should be however long it turns out, which is actually distinctly unhelpful. I know that I myself have given that response–it’s a good one under certain circumstances.

You can control the length of your story much easier if you go into it with the approximate length already in mind. By knowing that you’re working toward a novel or a short story, you can tailor the plot you dream up in a way that will accommodate that. The other way, writing on a whim until your story is told, can be wonderful, freeing, and sometimes a very needed respite, but it can be disheartening when you start writing on a prompt for a contest whose word limit is 5,000 words and your story turns out to be 12,500. There are ways of manipulating plot at the outset of writing that can help with keeping your word count nearer the goal you’re striving toward.

Plot Structure: Plot is composed of a set of scenes which all work toward a turning point–a climax. Those scenes must include conflicts, crises, and obstacles that your character(s) must overcome in order to progress toward the change that the whole story has been written for. The easiest way to control how long your story will end up is by limiting the number of complications you structure into the story. Obviously, the more you have, the longer your story. The less you have, the shorter the tale.

It’s important to keep in mind that the size of the change your story documents is not proportional to the length of the story. Short stories can have a character go through dramatic changes in the climax, and long stories may see smaller changes taking place over a period of time. Many folks tend to imagine that the larger the change, the bigger the story, but you can tell very decisive climaxes with enormous implications in a short amount of words, too.

The 10-point plot model I use has five complications and two events (7 total) for 50,000 words. I suggest 1-3 complications for stories 1-10,000 words, and then scaled up as you add more words.

The most common problem when trying to write to a specific word length is that writers overburden themselves with too much story to tell, but when they think of scaling down to a shorter story, they decrease the plot structure to an opening, a climax, and a closing. That removal of the complication can be detrimental to the development of the story and character(s), so always be sure you have some kind of obstacle for your character(s) to overcome. That does mean that you add substance to your story, though, so you need to keep that in mind when determining how to write.

Style: Writing style has an enormous impact on story length. I write with fairly long sentences, plenty of clauses where I can, description in lists; in short, I’m a pretty obnoxious writer. I know that if I’m writing a short story, I need to curb that. It’s not that you need to develop an entirely different writing style–although having more than one to draw on for different types of stories can be very beneficial, too–but you do need to know how to modify your style when you need to. Cut back on descriptions until they are only the absolutely necessary details (or expound on it if you’re trying to write longer things). Find more succinct ways of stating things. Use words that are more powerful, that can stand on their own, that mean exactly what you needed that word to mean without having to come up with a phrase that says the same thing. Increasing word count has the added benefit of being as wordy and as stylistic as you like. Create more obstacles, write about more of the surroundings, world build more, have more characters, write a story with more words.

One of the most important things I’ve developed over the years is an ability to tell fairly accurately exactly how many words it will take me to write a scene. If I know what I want to do in the scene, I can tell you if I need 300 words or 1,500. This skill took years to foster, so if you can’t do it yet, don’t fret. I highly recommend doing word count checks on completed scenes to see what kind of length they run, though. You don’t need to keep track of that anywhere, but having that innate knowledge that a scene–in which a character reenters a gladiator match three years after escaping the pits, during which he’ll beat their butts but also have a quiet revelation about his life since the rings and find out an important detail about the murders–will take me about 2,000 words helps me determine just what kinds of obstacles and scenes I can include in my plots.

Editing: The last way to take control of your word count is for those writers who struggle with putting limitations on their writing. I find this to be the hardest way to cut back on a story and frequently will just give up on using that story for whatever it was I’d intended it for, chalk it up as a good story and a missed mark, and write something new. That doesn’t mean it’s not useful to others.

The idea is to have your story already written, in the most comfortable way for you to write it, so that you have it to work with. If you struggle with actually finishing something, this is your best way to approach word length because you free yourself from any kind of constraints while doing the hardest part: the actual writing. Once it’s all done, you lay it out and start removing and rewording it so that it uses less words and conveys the heart of the story, and not much more. Look for subplots and extraneous characters that you can tweak or remove, as well as superfluous wording. If you’re looking to write a longer story than what turned out, then you’re looking it over for dropped things like plot, subplot, and character development threads. Insert reminders of what you feel is missing so that you can come back to tackle the expansion without having to start from scratch. Simple notes like “insert scene between A and B about the dinner B missed” can be helpful in reminding you what dynamic you’re trying to build.

Next up: What’s in a plot!

Where Shameless Went Wrong or My Protest

After a couple days of distracting myself and cooling down from the white hot rage Sunday night produced; I finally have the ability to talk about how I feel about Shameless.

I feel sometimes (a lot of times) creators don’t quite understand what they have created. This happens with books and TV shows alike. As someone who is in the midst of writing a novel, I will say all of my characters story arcs happened beyond my control. Because, here’s the thing, when you create a character they become something else. They become real in a way and its not about being the writer, being God. Its about being a vessel, a bridge.

The character becomes themselves and does as they would do and as the writer you are the vessel in which their story is told.

Where long running books and shows often fuck up is when they try to control the character and control the audience. When they think:

“I wrote them therefore whatever I make them do or say is law. Whether or not it is within their personality/character to do so.”

When the Creator thinks they are God, is when they fail.

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