and there are no subs because it's part of the whole thing

anonymous asked:

Any advice on how to write a heist story something like oceans Eleven?

Well, you can start by watching Ocean’s Eleven, and Ocean’s Eleven, and then Leverage, and then Burn Notice, and then The A-Team, and then Mission: Impossible, and then all the other heist stories like The Italian Job or Heat. Watch, read, uncover as many stories about criminals as you can from fiction to nonfiction to reading security analyst blogs. Read the spy memoirs, the thief memoirs, the fake ones and the real ones. Check out magicians, hypnotists, card tricks, and sleight of hand. Watch the making ofs and director’s commentaries looking for clues behind the thought process of these stories. The hows and the whys as you look into the research they did. Burn Notice, for example, is famous for using stunt props and technological rigs that work in real life. Like using cell phones to create cheap bugs on the go.

The worlds of criminal fiction and spy fiction rely on being able to present (or convincingly fake) a world which feels real. A heist is all about exploitation. So, you need a world with security structures to exploit. You’ve got to know how things work before you can craft a way to break them. Social engineering, hacking, and every other criminal skill is about breaking the systems in place. So, you’ve got to get a baseline for how law enforcement and security analysts work. What security systems are set up to look like. The ways we go about discouraging thieves. Better yet how people behave. Real, honest to god human behavior.

So, you know, pick somewhere in order to start your research. Get an idea of what you want write about stealing, then learn everything about the object, the museum, the city, the country, and its customs as you can.

If you’re setting a heist in a futuristic or fantasy setting then luck you, you get to make all of it up.

Learning the plot structure and conventions of the heist genre is the first step. This means watching lots and lots of heist movies, shows, and reading books. Over time, as you become better at critical analysis, you’ll begin to see specific story structures and character archetypes emerge.

The Heist Story is a genre. Like every other genre, it comes with its own structure, cliches, archetypes, plots, and genre conventions which necessitate the narrative. The better grasp you have of those, the better you’ll be at writing a heist.

For example, a heist story like Ocean’s Eleven relies on a collection of thieves rather than a single individual. The character types are as follows:

The Pointman - Your planner, strategist, team leader, and the Jack of All Trades. Can also be called the Mastermind. They’re the one who can take the place of anyone on the team should they fall through. They’re not as good as a specialist, but they’re very flexible. Narratively, he plans the cons and subs in where he’s needed.

The Faceman - Your experienced Grifter, here for all your social engineering needs. These guys talk their way in.

The Infiltrator - Your cat burglar or break-in artist. Basically, the conventional genre thief. Your Parker, Catwoman, Sam Fisher, or Solid Snake. The stealth bastards, they’re all about silent in, out, and playing acrobatic games with the lasers.

The Hacker - The electronics and demolitions specialist. Usually this is the guy in the van overseeing stuff remotely. Your Eye in the Sky. Their skill set can be split up and swapped around as necessary.

The Muscle - The one who is good at fighting. They’re combat focused characters, usually with mercenary and special forces backgrounds. Though, that’s optional.

The Wheelman - The one who handles the getaway. They’re your often overlooked transport specialists. It’s not just that they can drive, they’re skilled at getting lots of people around, figuring out how to move your valuables, and exiting hostile cities or countries undetected. They get the team in and they get them out.

For an example of these archetypes, I’m going to use Leverage. Nathan Ford, The Pointman (technically, he’s written like a Faceman). Sophie Devereaux , The Faceman. Parker, the Infiltrator. Hardison, the Hacker. Eliot, the Muscle. They all take turns being the Wheelman.

Other examples like Burn Notice: Michael Westen, the Pointman. Sam Axe, the Faceman. Fiona, the Muscle. They all take turns with explosives, Michael will invariably take all the roles during the course of the show.

Ocean’s Eleven has multiple variants of these archetypes, all broken down and mixed up.

You can mix and match these qualities into different individuals or break them apart like in Ocean’s Eleven, and more than one character can fill more than one role, but that’s the basic breakdown. For example, your hacker doesn’t need to be a guy in a van overlooking the whole security grid. One guy or girl with a cell phone can sit in the lobby of a building with an unsecured wireless network and crack the security. Welcome to the 21st century. The skills don’t necessarily need to take the specific expected shape.

What you do need is the basic breakdown:  You need someone to plan the con, you need someone to be your face or grifter, you need someone to break in, you need someone to watch the security/electronics, you need muscle to back you up, and someone’s got to cover the getaway.

These shift depending on your plan, but this is the expected lineup for a heist narrative. The first step of a heist narrative is not the plan because we don’t have one yet. We’ve got an idea. Pick your target. Maybe it’s a famous painting. Maybe it’s a casino. Maybe it’s a rare artifact from a private investor’s collection loaned to a museum for a short period of time. Maybe it’s art stolen by the Nazis during WWII. Whatever it is, figure it out.

The next step is simple. If you want the thing, you’ve got to find a way to get it. This is a big job, your standard thief won’t be able to pull it off alone. So, you gotta go recruiting. Get your team together. Make sure to establish the goals of the different members for joining. Who they are. Their pedigree. One might be an old flame or an old enemy. This is where we lay out some character driven subplots.

When everyone’s together, we’ve got to lay out the plan. Before we have a plan though, we need to establish where the object is and the issues in getting it. Why this has never been done before. So, what are the challenges? Invariably, an object worth a great deal of money will have a lot of security protecting it. Figure out what that security is, who the item belongs to, what sort of retribution do the thieves face beyond what they might expect. Lasers, pressure plates, cameras, security, other career criminals, mob bosses, the rich and powerful, whatever.

After that: How do you get it? Then you’ve got to plan the con, while taking everything into account.

Then, We prep the Con. There will be steps to take before the con can be put into place, your characters taking their positions in plain sight. Stealing whatever pieces you need to make it work. Casing the joint. Etc.

Then: Run the Con. This is the part with the actual stealing. Better known as the first attempt. Things go well, there may be a few mistakes, but things are going well and then we…

Encounter Resistance. While running the con, something goes wrong, pieces fall apart, the thieves come close to success but the object gets moved and they suddenly need a new plan. New information may pop up, it may be one of your artists was running a con of their own separate from the rest. If there’s a double cross in the works then this may be when and where it lands.

We’re ready now, so it’s time hit up: Steal the Thing, Round Two. Your characters put their new plan into play and get about thieving the object of their desire.

Lastly: The Get Away. This is the part where your thieves make for the hills with their stolen treasure. This can be short or long depending on the kind of story you’re telling and other double crosses may occur here. It could be the end of the story or the beginning of a new heist.

Heist stories are like mystery novels. They’re all about sleight of hand and misdirection. You’ve got to keep just enough information on the table to keep your audience on the hook, and just enough information off the table to surprise them later on the twist. Yet, when they go back to re-read the novel again, they’ll find the answer was there all along. They just didn’t see it coming.

If anything, learning how to write a well-done heist or a mystery or any kind of novel in this genre will teach you a lot about how to manage your foreshadowing and create superb plot twists. Like any good con, you need to lay out all the conflicting pieces where people can see them, let them draw their own conclusions, withhold the critical context, and then hit them with the whammy.

Like lots of audiences, new writers (and even some old ones) can get distracted by the shock and awe. They see they’re impressed by the conclusion, not the lay-up. If you want to write any kind of fiction, you need to learn to see past the curtain and pay attention to the critical pieces leading into an important moment rather than the moment itself.

Good writing isn’t modular, you can’t just strip out pieces and run with them because you’ll end up missing the crucial, sometimes innocuous pieces that ensured the scene worked. Like the Victorian Hand Touch, every moment between the two leads and most of their scenes with secondary players are working for that singular instance of eventual, gleeful catharsis.

If you’ve got a plot twist coming in your novel, every sentence from the second you start writing is working towards it. You start laying out your pieces, funneling in your tricks, and playing with misdirection. You may have multiple twists, to cover yourself, divert your audience, congratulate them for successfully guessing your ploy, and reassure their initial suspicions before catching them again on the upswing.

The clever writer is as much a con artist as their characters. The only difference is the target of their con is their audience. The tricks in their bag are narrative ones, and they work with the understanding that it doesn’t matter if someone guesses the end so long as they’re entertained by the journey. A great story stays entertaining long after the audience has figured out all the twists.

So, don’t get caught up in Red Herrings and frightened about not being able to outsmart other people. Tell a good story with conviction and heart about a bunch of crooks out to steal their heart’s desire.

That’s all there is to it.

-Michi

This blog is supported through Patreon. If you enjoy our content, please consider becoming a Patron. Every contribution helps keep us online, and writing. If you already are a Patron, thank you.

Reasons to watch the New Russian Holmes series (2013)

I’ve blogged a lot about this show over the last month or so, but I’ve been meaning to make a big post about it all in one place, so here we go!

Originally posted by spiritcc

A brief intro for those who care:

Sherlock Holmes (2013), or, as it seems to be popularly called, New Russian Holmes (as opposed to the old Soviet Holmes), is an eight-episode Russian-language Sherlock Holmes adaptation directed by Andrei Kavun, starring Igor Petrenko as Holmes and Andrei Panin as Watson. It first aired in Russia in November 2013, but has had no official English release.

So where can I watch it?

Despite the limited release, all eight episodes are available on Youtube, with English subtitles, translated thanks to the excellent @spiritcc​.

Yeah but why should I watch it?

Because it is excellent. I don’t want to spoil people too much because discovering things yourself is really the best, but let’s be a bit more specific:

The opening credits:

Even before the first scene, we get treated to a beautiful opening sequence with really great music, but this isn’t just a sequence to shove credits in your face, it’s not even just an aesthetically pleasing series of shots of Watson’s notebook, the opening sequence forms part of the episode and part of the series as a whole.

Every opening is unique, from the images to the voiceover, and is as much a part of the story as the substantive scenes themselves. 

The refreshing take on canon:

If you’re going to watch this, you need to know that the fundamental premise of the show is that the ACD canon lies. Watson’s “stories” are just that: stories. Holmes in real life is different, Watson is different, Mrs Hudson is different, the cases went differently, hell, even Gregson is different. So if you’re looking for a faithful replication of canon, this isn’t the show for you, but once you take on board this fundamental premise, it’s fantastic because it forces you to think about canon in a new light, and to consider the implications of Watson as an unreliable narrator.

You’ll get to see how and why Watson came to write “canon” the way he did, and you’ll get to see how everyone reacts to it. Every other adaptation (with the exception of Bert Coules’ radio series perhaps, but even that adheres to canon quite strictly) treats canon as more or less the “truth” and bases their version off that to create an output; this show treats canon as the output, and works backwards to imagine the “true” series of events behind it. This aspect (at least for me) was one of the most delightful themes to watch develop throughout the episodes, and it really shows how much original thought and passion went into the conception and creation of the show.

Watson as the true protagonist:

This sort of follows on from the fundamental premise of the canon stories being mere stories. Watson is the person through whom we get to know Holmes; everything we read is Watson’s doing, so it’s natural that the protagonist should also be Watson. We see the world from Watson’s perspective.

It’s not a story about this genius Holmes and his sidekick Watson, it’s a story about Watson and his adventures with this intriguing man, Holmes, and in that way it makes the show very grounded and very real.

Holmes the nerd:

For some reason, Igor Petrenko’s Holmes has been likened to Robert Downey Jr.’s Holmes, but I don’t think that’s accurate at all. Whereas RDJ’s Holmes veers more towards grubby cocky action hero who happens to be good at reasoning (and I don’t say that with any scorn), Petrenko’s Holmes is very much grounded in the same sheer intellect that defines canon Holmes, only this version is a more flawed, nervous character, which I think makes him more interesting. Petrenko does an excellent job with the quirks and mannerisms of the character. He also keeps insects in jars in his room.

nerd.

Watson the military man:

A lot of adaptations emphasise Watson’s role as a doctor, but few seem to remember that he was also a soldier, so it’s refreshing once again to see this series not only acknowledge that military background, but to explicitly keep it front and centre the entire time.

Watson the surgeon:

For all its joviality, the show doesn’t shy away from graphic realities either. Watson is more than just a doctor, he’s a surgeon. We see him handle the scalpel more than he does the stethoscope.

Watson the badass:

Yeeeeeeaaaaaaaaaaaaaahhhhhhhhh

Watson’s facials:

I know I’ve posted a lot about this but seriously Panin’s acting is really one of the highlights of this show, he was such an excellent actor, absolutely convincing in his role.

Brand new revised subtitles by yours truly!

Over the last two months I’ve gone through and edited all the English subs for the series, so hopefully everything will read a lot smoother! Any remaining mistakes are entirely my responsibility.

The humour:

Sort of reminiscent of the tone of the Soviet series, this series shares that light-heartedness, but it sure as hell isn’t a joke either. It’s not dark and edgy for the sake of being dark and edgy. It doesn’t pull the cheap trick of taking advantage of your feels. The series sets out to tell a story and it tells a beautiful story and you will genuinely love the characters for who they are. And you will feel good about it. Yes, you will even love Lestrade.

Watson taking a bath:

The hilariously bad English (I laugh in good faith):

The creepy autopsy  man:

This weird ass scene:

Originally posted by nitefise-art

Kilts!

Moriarty hiding in the first fucking episode no less

not showing you, you have to spot him yourself

And finally, their timeless friendship:

Originally posted by random-nrh-gifs

Originally posted by idlesuperstar

Originally posted by random-nrh-gifs

Never has a show felt more genuine or more satisfying to watch when the final credits roll. This is a Sherlock Holmes that has had thought, love, and appreciation poured into its making, and it shows. 

So, llamas, go forth! You can watch the entire series here. I hope you have as much fun as I did :)

the thing about shadowhunters including not only aline, who is already a canonical book character, but also ollie and samantha is that they didn’t have to. 

the show has already spoken and shown how they don’t mind parting with the books, so they didn’t need to add in aline. but they did, and they did her well. in the books aline kisses jace to ~discover~ herself. the show not only included her but also demolished that idea, with “sebastian” bringing up carolyn. they not only included one of cc’s ONLY canonical sapphic characters, but they also made her self confident, and knowing of herself. i can’t speak for everyone but i know that i’m personally very tired of the coming out arc that has to involve a man for the lesbian to ~truly discover herself~. 

and then they added in ollie and samantha as well. after alaric’s passing, it made sense to give luke a new partner. it could have been anyone, but they made it a wlw. and, she’s a three dimensional character, that moves the plot along and has her own sub plot at the same time. she’s slowly learning about the shadow world, and hasn’t been killed because of it (i cannot stress that enough). she has a girlfriend, samantha, and they’re both shown to be domestic and sweet and a real couple, not some gross man’s imagined version. and another factor that plays in is that we’ve seen samantha. she’s not mentioned in passing and forgotten, not a character trait for ollie. she’s a character too, and one i hope we’ll see more of.

another point to be made is that out of these three wlw, two are woc. aline is chinese, and samantha is desi. the fact that out of all the confirmed lgbt characters only two are white is something that needs to be noticed. in media the majority of lgbt characters are white, but media still gets praised for their diversity. two out of the three of the canon wlw are woc, and that’s important to recognize. 

these characters are characters, not plot points or something for the audience to drool at. they all three have backgrounds and personalities and move the plot along. i cannot begin to express how utterly delighted i am by these characters as a lesbian. i do love malec with my whole heart, but the amount of excitement and complete joy i feel for finally having sapphic rep in this show is something i never really expected to feel 

so you’re taking a philosophy class... now what?

Philosophy is intimidating. You probably think of Pluto and Socrates, and while they are a part of philosophy, there is so much more to it. The subject is foreign and hard for many, but once you get the hang of it, it can easily become one of your favorite classes. Here’s some tips to make these classes a bit easier:

What the flippidy-doo-da even is philosophy???

Philosophy is the study of why. Ethics, morality, reasoning, all fall under philosophy. There’s a bunch of sub-topics in philosophy, like hedonism (what determines what is good for us?), relativism (why do we have different morals from someone else?), morality (what is the difference between right and wrong?), and more!

What makes a philosophy class different from any other class?

In philosophy there is no right or wrong answer. Everything is relative, subjective, and opinionated. The answer is never “yes” or “no”. Philosophy is essentially a lot of questions, but not many answers.

What can I expect in a philosophy class?

Socratic. Seminars. They are everywhere in philosophy classes. These are very similar to debates in the sense that its a group/the whole class talking about a subject, but you’re not trying to persuade anyone or change anyone’s mind, you’re simply talking about it. In college, philosophy classes tend to be smaller (under 40 people) for this reason. But don’t let the idea of a Socratic seminar scare you away from taking a philosophy class. They aren’t that bad. Why? Because there is no right or wrong answer. You don’t have to worry about saying something wrong or sounding stupid because literally you can’t say anything wrong. And if the idea of talking to other stresses you out, just remember that your fellow class mates are in the same exact position as you are. 

What can I do to *succeed* in a philosophy class?

Know your argument. Typically in philosophy there are three “arguments” (similar to a debate…ish). The for, the against, and the somewhere in the middle. On all of my philosophy tests, all of the questions are the same. exact. thing. Here’s an example from my last philosophy exam:

What is Hedonism?

What is an argument for Hedonism?

What is an argument against Hedonism?

What is your opinion on Hedonism?

You need to know of both sides of an argument, but other than that, there’s no memorization. It’s all explaining and why. You’ll learn very quickly how do BS a paragraph.

Also, Crash Course - Philosophy will become your best friend in the world.

Types of people who would especially love philosophy classes:

- Like writing, debates, and is opinionated

- ENTJ, ESTP, ISFP, ENTP, INFJ, INTP

- Aquarius, Leo, Gemini, Sagittarius, Pisces


@samsstudygram , The So You’re Taking Series - Philosophy

somebodylost-chan  asked:

I'd like to ask, how do you know when fight/smut scenes are necessary? Or how to make them effective & not simply as fanservice or just for word count? Usually, I find myself skimming through fight scenes as a reader, bored. As a writer, I'm inclined to just 'fade to black' and imply stuff at the next chapters. I'm not really a fight/smut-scene writer, even though my characters know & need to fight. Thanks for keeping this blog. :D

A good fight scene (and a good smut scene for that matter) always works in the service of the narrative. It works toward the cohesive big picture.

From an entertainment standpoint, violence is boring.

You need your audience invested in the characters participating in the violence, in the actions and events leading up to the fight, in the aftermath and how this will effect the character’s overall goals.

In a narrative context, if you’re bored during a fight scene or a sex scene it’s because the build up to that moment failed. The scene itself may also have failed. However, your foundation is what makes your story sing.

Think of a story like building blocks. You’re playing Jenga with your reader on a homemade house, they’re slowly pulling out the pieces and you’re betting you built your blocks well enough to withstand scrutiny. You’ve got to keep them interested long enough to get to the end before the whole thing comes tumbling down.

A fight sequence which works in concert with it’s narrative is enjoyable, doesn’t overstay it’s welcome, and ultimately works to build up the story it’s telling. Fighting isn’t fighting, you see. Combat is a form of problem solving, the fight itself is an expression of the character’s individuality. Everything we’ve been learning about them, their goals, and their behaviors are being put in a pressure cooker and dialed up.

You should be learning about the character as the fight progresses, the fight working on multiple levels in concert with its narrative to get the story where it needs to go. Often, a first fight is like an establishing shot in film. You get a feel for who this character is when under pressure, who they are. Peril can be a great way to get the audience invested, but its up to the author to prove why they should.

Poor fight sequences don’t tell you anything. They’re there to establish the character as capable of fighting but don’t even do that because their concept of combat is generic.

The combatants aren’t individuals expressing themselves, the fight isn’t proving anything except fighting, it doesn’t have meaning except for its attempts to prove the narrative’s poor concept of badassery. This often happens with no regard for the setting’s rules, the aftermath consequences, what the character’s actions will effect in the long run.

It doesn’t mean anything and, while violence is shocking and terrifying in real life, in fiction violence has to mean more than just an exchange of blows.

How many times have you read a book where several mooks show up to get their ass kicked by the protagonist? They limp off at the end and while they’re often in a perfect position to be seen again due to their connections, we never do.

In even just a moderately competent narrative, those same mooks are characters. We’ll see them again in bit roles. They’ll play a role, either to help or hurt later as an aftermath consequence of the protagonist’s earlier actions. These are callback characters we can use to remind the audience of what happened previously in the narrative, and offer up some catharsis.

In a really well written scene, these mooks serve an important purpose when it comes to establishing the protagonist’s character in a quick snapshot. Like the moderately competent character, they come back later to the aid or the detriment of the protagonist. The mooks’ response actions are a direct result of their encounter with the character, often acting as an inciting incident. The protagonist suffers direct consequences as a result of their actions, whether its injury, loss, or the attention of the villain which causes them to lose something. In these fight scenes, you can see the story’s trajectory because it acts as another way to get to know the hero, the secondary characters, the tertiary characters, and whoever else is participating. It’s working on five different levels.

What you often see in a good fight sequence, whether it’s in a written medium or film, is the culmination of a great deal of hard work on the part of the author. A smut sequence is a reward, it’s a way to pay off on the reader’s investment in the relationship between these two characters and the narrative’s investment in them. It doesn’t matter if that’s hardcore sex, or a Victorian hand touch, or a knockout blow to the jaw, the end result is the same. It’s entertaining, satisfying, and even cathartic.

A poor sex scene is just dolls bumping bits. A poor fight scene is just dolls trading blows. Nothing occurs, nothing happens, there’s none of the underlying satisfaction or catharsis in the outcome. You don’t have any investment, no consequences, it overstays its welcome and tells you nothing about the characters.

You’ve no reason to care, so you don’t.

As a reader, you don’t owe a writer attention when reading their work. They’ve got to earn it. If they aren’t, then it may be that the story isn’t for you and that’s okay. Take into account your tastes,

It takes practice to choreograph a fun fight scene. Writing sex and violence is mostly about learning to find your limits (i.e. what you’re comfortable with writing), and overcoming embarrassment. Determine the difference between need and want.

Are you avoiding writing these scenes because you’re scared of being bad at them or because they just don’t interest you?

These are two very different issues, and it’s easy to hide from the first behind the second. Be honest with yourself. If it is fear, then don’t give into it. The easy solution if you’re afraid of being bad at something is to practice. Start looking critically at the media you consume, when you start to get bored during a fight scene or a sex scene, when you want to skip ahead, ask yourself, “why?”. Check out the sequences and stories where this doesn’t happen, and try to figure out the differences between the two.

When it comes to the mechanics of both violence and sex, the more you learn the better off you’ll be at writing it. The more you practice writing violence/sex/romance then the better you’ll be. Like with everything, it’ll probably be pretty terrible in the beginning but the more you practice, the better you get. Writing itself is a skill, but its also a lot of sub-skills built in underneath the surface. Being good at dialogue doesn’t mean you’ll be good at action, having a knack for great characterization doesn’t mean you’ll be good at writing setting description. Putting together great characters doesn’t mean you’ll automatically be good at worldbuilding.

Don’t be too hard on yourself.

All it takes to figure out whether or not the time to fight is right is by listening to your gut.

Remember, the best scenes are based in narrative cohesion and emotional investment. They’re a pay off in and of themselves for your audience, dessert after dinner. They aren’t the meat and potatoes. If you set out to just write a fight scene or write a smut scene then it’ll get gratuitous. Then the focus is on the fight or the sex itself, hangs entirely on their shoulders, and you’ve just upped the ante for how entertaining you need to be.

It’s not “how do I write a fight scene”, it’s “how did my characters get to this point and why are they fighting”. If you start from a character place, it gets easier. The same is true with romance. “How do my characters participate in a romance (sex or not)”.

Make it about the individuals, that’s when it really gets fun.

And, if you get too stuck, try writing fight scenes with characters who don’t know much about how to fight. Sometimes, it’s easier to get into it when you begin at the beginning. There’s a lot less pressure convincing an audience with a character who knows nothing than one at the top of their field.

There’s a lot less stress about “is this right?” when you’re trying to get a feel for the flow if you’re dealing with a character who doesn’t know jack shit. Fight scenes with characters who know nothing can also be really, really, really fun. They’re wild, improvisational frenzies where all you have is the character sorting through their alternative, non-fighting skills trying to figure out how to survive.

Believe it or not, this will help you because you don’t get to cheat with the idea that your character already knows what they’re doing when you don’t. It’ll help you tap into the character, seeing scenarios from their perspectives, and writing to that instead of “generic fight scene”. When you’re unsure, characters who know nothing about the subject matter they’re engaging in but still have to engage are great. They teach you how to write from the standpoint and perspective of the individual. You need those skills just as much when writing characters who are professionals or at the top of their field.

If you don’t think you can write an interesting fight sequence with a neophyte, then that might be a part of the problem. A character doesn’t need to be good at something to be entertaining. A smut sequence where everyone’s fumbling, knocking into each other, embarrassed, stuck in their clothing, cheesy, corny, and laughing can be just as fun (if not more so and more honest) than the ones that generally get envisioned.

For me, good is entertaining and the entertainment is based in humanity but you need to define “good” for yourself in your own writing. Be honest with yourself about your fears and you’ll find a way to bridge yourself to the kind of writing you want to be doing.

Freeing yourself of your own internalized preconceived notions will help a lot, and produce stories that are way more fun.

-Michi

This blog is supported through Patreon. If you enjoy our content, please consider becoming a Patron. Every contribution helps keep us online, and writing. If you already are a Patron, thank you.

New toy II pt.2

Jungkook x reader

genre: smut, fluff, angst, sub!jungkook

also some thigh riding 

word count: 10.2k


What is a better occasion for some nasty actions than a blackout?

Originally posted by nochuie

Keep reading

anonymous asked:

Yeonwoo I missed u ㅠㅠ ik u r probably busy i check ur blog everyday .<3 ok now back to KM vlive sub sucks I want to kn what jk said to jimin during the game coz according to my shitty kr ( he said my partner ㅠㅠ pls tell me I'm r8/ also said that he puts a lot of coins/money so they can keep playing ( low-key he wanted to keep playing wt his jm) the only thing they subbed that satisfied me is jiminie-hyung c'mon lol where r u I need u girl

You’re right, Anon.

(Video, subs, and caps by 국민호떡님 )

I don’t know if the English subs are out now but JK does call Jimin his partner [pic 1] and tells him to continue playing (after he died) because he put in a lot of coins for him (he said this part in banmal)[pic 2]. If you actually listen carefully during Rap Mon’s interview (before JK called out “Jiminie-hyung, come on!”) you can hear the coins he’s slotting into the machineㅋㅋㅋ

Some observations:

After all these years, JK is still excited to play video games with Jimin. It doesn’t matter that Jimin isn’t that great at it (JK obviously knew that beforehand lmao), he just appreciates spending time with his hyung and god, if that doesn’t pull at your heartstrings… And this is coming from a man who hates losing, period. Well, I guess he doesn’t mind hard carrying as long as it’s for Jimin.

^ They apparently played more than just one arcade game together, but it was cut.

This whole episode reminded me of that fan meeting from several weeks ago when Jimin was talking about his love of Pokemon Go. Everybody was shouting out different things (like which Pokemon the members resembled) and the only thing Jungkook cared about was the fact that Jimin was “copying” Rap Mon. And then he literally plopped down like a sulking child.

Let’s be honest, he was just jealous that Jimin was spending so much time running around Seoul with Rap Mon and leaving him behind. JK then reminded people that Overwatch was the better game. I swear, this man…

The Seven Hermetic Principles

“The lips of Wisdom are closed, except to the ears of Understanding.” – The Kybalion

In the years of old Egypt, a fundamental truth was shared, which had a profound and remarkable effect on all esoteric teachings to come, from Christian mystics and the Jewish Kabbalah, up to the secret knowledge of India written down in the Upanishads. All these occult teachings show a resemblance in their deepest and most basic ideas. The master Hermes Trismegistos, whose actual physical existence had never been proved, has been said to be the “Master of the Masters”, “the Scribe of the Gods”, and even “the God of Wisdom” himself. As a mythological figure, the greek god Hermes is equal to the roman god Mercury and to the egyptian deity Toth; god of the moon, magic and wisdom. Hermes’ philosophy has been passed on both orally and in writing throughout the last several centuries. The first written version is said to be the “Tabula Smaragdina”, a text of twelve sentences that contains all knowledge, found within Hermes’ grave. While the original Tabula Smaragdina is missing, writings about it have been found in Latin, Arabic and Greek since several hundreds of years. In 1908 knowledge from the Tabula Smaragdina and the Corpus Hermeticum (other texts by Hermes Trismegistos) got translated and further elaborated in English, known as The Kybalion. The philosophy of Hermes is the key to the understanding of all mystic teachings, including astrology, alchemy and psychology, as well as the many occult writings of different religions. The purpose of all these teachings is the same - The transmutation of consciousness into a higher vibrational state.

The philosophy of Hermes, and thus of all occult and esoteric knowledge, is based on the Seven Hermetic Principles. These laws are universal and ineradicable.

I - The Principle of Mentalism

“The All is Mind; the universe is mental.” – The Kybalion

Our material universe holds a substantial reality, The All, within itself. This All is pure spirit, a living mind, unknowable and undefinable. It is infinite and eternal in time and space. Matter is a mental creation of the All. But while all matter is illusionary from an absolute point of view, it is very real to the finite mind, and must be treated so; however, always with a clear understanding of the higher truth.

II - The Principle of Correspondence

“As above, so below; as below, so above.” – The Kybalion
Our universe consists of the Three Great Planes: the great physical plane, the great mental plane and the great spiritual plane. The Principle of Correspondence implies that there is a harmony and correspondence between each of these planes, since they were all born from the same source. All laws and characteristics are universal and apply to all three great planes and their sub-planes. The alchemist knew that once he turns metal into gold, the same transformation will be done unto his soul.

III - The Principle of Vibration

“Nothing rests; everything moves; everything vibrates.” – The Kybalion
Everything within the All is in motion. Matter, mind and spirit are basically the same energy, but differentiate from each other by their rate of vibration. For us humans, the mental plane is eminently interesting, because all kinds of emotions, thoughts, will or desire, as well as any kind of mental condition, vibrates in its very specific mode. One can gain total control of their own mental states and moods by mastering this principle and change their own vibration, and also affect the minds of others by changing theirs. This phenomena is known as telepathy, induction or suggestion.

IV - The Principle of Polarity

“Everything is dual; everything has poles; everything has its pair of opposites. Opposites are identical in nature, but different in degree. Extremes meet; all paradoxes may be reconciled. Everything is and isn’t, at the same time.” – The Kybalion
Everything within the All, whether it is material, mental or spiritual, has two poles, which are but the two extremes of the same thing, with many varying degrees between them. Mental transmutation can only happen by changing the vibrational rate within a thing, but a thing can never be changed in its nature. An undesired rate of mental vibration can be transformed by focusing and putting the awareness onto the other pole. As it is written in the Kybalion: “If you are possessed by fear, do not waste time trying to “kill out” fear, but instead cultivate the quality of courage, and the fear will disappear.” The tendency of nature itself is to move into the direction of a higher vibration, back to the pure spirit it once came from.

V - The Principle of Rhythm

“Everything flows, out and in; everything has its tides; all things rise and fall; the pendulum-swing manifests in everything; the measure of the swing to the right is the measure of the swing to the left; rhythm compensates.” – The Kybalion
Between the two poles of everything, there is a pendulum-like movement, a measured motion with equal amplitude to the left and to the right. This balance of the swing is called the Law of Compensation. This law also applies to mental states in man, balancing the capacity for pain and pleasure. The more suffering one is able to bear, the more enjoyment awaits him, and vice versa. However, Hermetics use the Law of Neutralization by changing their own vibrations to a higher plane, and thus escape the effects of the negative swing of the pendulum on the lower plane.

VI - The Principle of Cause and Effect

“Every cause has its effect; every effect has its cause; everything happens according to law; chance is but a name for law not recognized; there are many planes of causation, but nothing escapes the law.” – The Kybalion
There is no such thing as chance; there is a cause for every effect and an effect for every cause. Chance is a term for an effect that results from causes we can’t perceive or understand. Most of us go through life being mere effects; pawns to their own creation.
Those who are able to raise their vibration to a higher plane, those who understand that not only our acts, but also our thoughts and emotions will have an effect, become Causers instead of Effects. They dominate moods, characters, qualities and powers in both themselves and in others. They do not escape from causation, but they serve on the higher plane, and rule on the lower one.

VII - The Principle of Gender

“Gender is in everything; everything has its masculine and feminine principles; gender manifests on all planes.” – The Kybalion
Everything on the material, mental and spiritual plane contains the masculine and the feminine principle. Neither the masculine nor the feminine principle is capable of creating without the operative energy of the other. While the feminine principle tends to receive impressions, and generates thoughts, ideas and the full work of imagination upon these outer perceptions, it needs the masculine principle and its expressive tendency to generate and materialize original mental creations. Creation is only possible by a union of the two elements.

For the Hermetics it was not only essential to know and deeply understand these principles, but also to master, use and express them. Only then could some good come out of it for the possessor of the knowledge, and for the whole race. “True hermetic transmutation is a Mental Art”, speaks the Kybalion, “If the universe be mental, in its substantial nature, then it follows that Mental Transmutation must change the conditions and phenomena of the universe. If the universe is mental, then Mind must be the highest Power affecting its phenomena. “ The Hermetics knew that by raising their own vibration to a higher plane, and thus be able to rule on the lower one, they did not cheat, but play an important part of the game. They still served on the higher planes, fully aware that they could not destroy or avoid any principle.

“The half-wise, recognizing the comparative unreality of the universe, imagine that they may defy its laws. Such are vain and presumptuous fools. The truly wise, knowing the nature of the universe, use law against laws; the higher against the lower; and by the Art of Alchemy transmute that which is undesirable into that which is worthy, and thus triumph. Transmutation, not presumptuous denial, is the weapon of the master.” – The Kybalion

wjsn for newbies here we go

BACKSTORY so cosmic girls/wjsn is made up of four units (wonder, joy, sweet, and natural) and is the baby sister girl group to sistar and monsta x. they are WILDLY gay and chaotic (have been coined the Chaos Family by yours truly). their concept is that they are from space and thats it thats the concept so space is gay. theyve had two comebacks and had a member in ioi and a member who participated in girl spirit

Keep reading

MISTER 101: Why do you do this?

I was posed the question this morning.. and while its come in different forms before, the way it was presented here struck a chord in me. So I figured it was time to take the chance to explain myself… because ultimately I am sure its something that peaks the interest of many who follow me.

THE BEGINNING

I remember every single detail about that night.

The way he stared at me made me uneasy at first, but after I realized it was an inquisitive spirit and not one that wanted to take advantage of me, I was put at ease. Being a college freshman from a small poor town having never met anyone outside of your bubble can be intimidating you know… 

So when he said: “Come with me, I have something to show you”.. I didnt think twice, because I had this burning suspicion that my life was about to change in an epic way.. and it did. 

It was most likely the space of 45 minute to an hour but it felt like a rebirth and a new beginning of timeline. As though in some form or fashion I broke away from the timeline I was living in and entered into an alternate existence. I felt alive and aware like I never had beforeI had become awakened. 

GROWING AGAIN

At that age and the first time away from home you can become influenced by man things. Especially when you basically grew up with nothing… its often sometimes hard to tell whats right and wrong. But there was something most definitely right in the almost daily sessions. The lectures… the teaching.. the observations….. the encouragement. It all came together like a familiar puzzle that you have put together a hundred times, but yet each time still seems fresh and new in some strange way. 

It was made clear to me above all else that the information I was being given was sacred. That it was to be used for ultimate benefit to others, and never to be abused. It was told and retold… emphasized and drilled.. I realized that I was being given the opportunity of a lifetime.

All those hours at the mall watching people… all those nights sitting in the corner taking mental notes as he worked over his subs in scene time.. all those extra hours in psychology and criminology classes for no reason but to learn everything I could about myself and why I was this way. All the munches and presentations and books…. all the time spent with rope in my hands… with another persons trust in my hands… with the power to make or break.. in my hands. 

“No matter what you do, always do it with an ultimate purpose. When she asks “Why?”, always have an answer… when she submits, always be grateful”

Even now I begin to tear up recalling those words being spoken into my right ear and the gentle touch on my shoulder. He was always so gentle with my ignorance… he was always very deliberate with his teachings. 

RESPONSIBILITY & RESTRAINT

Its one thing to dream, its another to dare, and its something completely else to dominate. Much like a prize fighter trains for his title fights, I trained for the moment when the reigns were handed to me and I given the humbling opportunity to be in control. 

That first time I snapped my fingers and she shuffled into position was breathtaking. I paused, lost concentration… and felt that tap on my shoulder. 

“Remember… this is a great gift thats been given to you. Treat it that way”

Focus was found again, and as she stared into my eyes my soul devoured everything within her, consumed it and knew exactly what she wanted. All those hours spun into seconds and my awareness burned like a phoenix rising from the dark depths of the ruins of my former life. 

I was a Dom… I AM a Dom… and at that moment I fully came into the realization of the great responsibility placed in my hands, and the restraint with which I was expected to always express. 

Everything was always to be many things… A chance to grow. A chance to teach. A chance to learn. A chance to enhance anothers life and bring about something within them that was much like what he saw in me that night. A chance to make sure that someones like would be set into forward motion and that progress & growth would be ultimate goal. 

“Never abuse this power.. never take advantage of anothers eagerness and hunger to become alive like you had”

And so I always set upon approaching every opportunity with this mantra in mind… yes, her submission is a gift, yes, she needs what I have and received myself, yes, she deserves to come alive.. to grow… to progress.. to be fully alive.

TIME WELL SPENT

And so through all the classes, the teaching, the meetings and munches.. through all the practical hands on, scene play, and so on… I became who I am.

“Never be complacent. When you stop learning, you have failed me”

These words cut me hard to the bone… even typiing them and hearing them in his voice in my head is like a punch in the gut to even think I would do such a thing. He gave me so much of his wisdom, knowledge and time that I shudder at the thought of ever grieving his spirit. 

WE ONLY HAVE WHAT WE REMEMBER

“you can never have any judgment… because you will always remember who you used to be”

Growing up I had nothing. My parents were busy, my older brother and his friends got a lot of joy out of making me a punching bag. At school I was ridiculed and taunted. Being fat and awkward and just wanting friends puts a target on your back the size of Texas. 

I was also a target in a different way by one of my brothers friends… and in the coldness of that damp basement one summer day he changed my life in ways that I both regret, feel ashamed of…  and feel blessed for. So then when my uncle did it again in my middle school years…. it seemed normal. 

But theres nothing normal about holding your fathers handgun to your head on a hot July day at the age of 12 and thinking theres nothing left in life. 

It was also at that early age words became powerful, important and valuable in great ways. 

“When you speak make it mean something, make it important. When you present yourself you are also presenting me”

After a botched love letter to a girl I had a crush on in which i misspelled the word “beautiful”, she decided to stand up and read the letter to the whole class and point out my mistakes. From that moment I decided that being well spoken was the key to success, and as such I began a path that not only saw me become a regional spelling bee champion… but also having aced English and rhetoric on the ACT college entrance exam.

I could have wallowed in my misery for those things that happened to me.. which are a minuscule part of my early life. But instead I made a choice.

I chose to do everything I could to get out of where I was and make sure that no one would ever take advantage of me in those ways again. I chose that instead of being codependent and weak and worthless… that there was a greater life outside of where I was and what was happening. 

Venerable actions

When you grow up having nothing, you either want everything or you form a respect for being simple.

In my case it became both and somewhere within my training I figured out that you could have everything you wanted with the most simple of actions. 

I knew that moment had arrived for me the night I was standing in front of a sub who was fully naked and in position… I was fully clothed and drinking tea and staring at her… And… doing nothing else. 

Within 5 minutes, cum had began to run down her inner thighs.

I had embraced the fullness of everything I had been taught. Everything I had yearned for.. all that time spent, those hours of tutelage, all that training had come into full fruition. And all I did was something simple.. drink tea and be myself.

A lot of people mistake my confidence for ego.

A lot of people think that the person I portray on my tumblr isn’t who exists in real life. 

“The respect you earn will be worth the most. Dont ever expect it. Just do what you know to do and it will come natural”

And with simple things, simple living, simple this simple that… everything becomes rather complex. Everything becomes vivid and deliberate. When you come to the table with  no expectations, you are rarely ever disappointed. When you have no expectations, you have no reason to judge. 

And how can I live without judgment… how is it that I understand and seem to be this giant lighthouse for everyone?

Experience breeds wisdom.

Been there, done that.

I know pain.. sorrow.. I know joy.. I know the depths at which life can take a person. I know what its like to want to die… to realize I should live. Ive been there… Ive been there when all hope seemed lost. Ive been there, shaking in the corner after being violated… Ive been there when all trust was lost. Ive been there when the indention of a gun barrell slowly fades from the skin in your temple. Ive been there when she waited a few seconds longer than I did… and squeezed. Ive been there… staring at the medication bottle and wondering what would happen… Ive been there holding a dying person in my arms who looked into my eyes and told me they were sorry. Ive been there when the police arrived.. Ive been there in the dead of night when you sit on your roof and stare at the stars and curse the sky. Ive been there.. on the floor with a bloody nose and sore ribs. Ive been there and watched it all slip away… 

And in every occurrence.. ive always looked forward. Ive always known that there was something better, that there was hope at the end.. its what keeps me motivated and going even today. Through the issues and the pain and the solitude, through the depths of my roadblocks.. it keeps me moving forward.

“Mistakes are opportunities. Always make the best of every one of them”

and so I do. Every mistake is a chance to improve. To be better tomorrow than I was yesterday.. and I do my best to bring those like me along for the journey.

So why do I do what I do?

Because this knowledge is sacred. because a promise made is a promise kept. Because when I was at my lowest, someone reached down into my grave and pulled me out and breathed new life into my lungs… 

I do this because I cannot sit by and watch anyone fall to the wayside. I cannot let those who were once like me be taken advantage of, and abused, and kicked around.. I cannot let this wisdom that was so graciously placed in me just rot away. 

I do this for every little.. and every daddy.. and every submissive.. and every kitten, puppy, piggy, slave, etc that exists within this beautiful culture and lifestyle that I have immersed myself in and grown within and fostered and found to be real and true. 

I do this because no one else will… no one else does.

The posts, the answers, the stories, everything… its all for you. YOU. Not for me… I am second within this great drama that is my tumblr. This is all for you and those will come after. 

Its the reason I read the stories.. because I know you need them for one thing or another. Its the reason I make the posts to teach and educate so you know better.. its the reason I give my time and sacrifice myself to be there no matter what. Its the reason I do what I do.. is because of all of you.

Thats why I am there. Yes there are thousands of you… thousands of strangers who come to me for everything and anything.

I saved someones life this week. I helped another on a date… i helped another choose special items for special time with their boyfriend. I helped someone else prevent an anxiety attack… I helped another prepare for a job interview.. and I did it all because I had to. I did it all because of the spirit inside of me that says I cant not do it….  

I do it all……for you……

…. because it was done for me.

In-and-out-laws

Something I forgot to mention in my review of Supernatural 12x12, “Stuck in the Middle (With You),” because I was super tired last night…

This episode gave us one of the most interesting plot twists in the Destiel love story we’ve ever had, and that’s saying something.

In real life, the only commonly recognised way for someone to suddenly acquire an adult “son” is via marriage, as a son-in-law. Or, if there has been no marriage yet, they might still be called a son or son-in-law (or in Aussie slang, an out-law :) to acknowledge the seriousness of the relationship.

Without that romantic tie, a close friendship between one of your children and someone else (the “brother from another mother”) does not usually translate to being openly acknowledged as another son within the family as a whole. I’m not saying that never happens, I’m saying that in our common understanding of families, “in-law” is the recognised way for an unrelated adult to enter a family. In fact, pretty much the only publicly and legally acknowledged way an unrelated adult can join a family is via marriage, which is one of the reasons marriage equality is a core concern for many queer people.

So when Mary protectively co-opts Castiel as one of her boys in that final scene, after he just confessed his forbidden love for the Winchesters, and all the special things he’s shared with Humanity/Dean… when it’s pretty clear he had to give up his original Heavenly family in order to become a Winchester (and, I might add, in a way that works as a heartbreaking thematic parallel to the homophobia and disowning that still often follows a gay union)?

Yeah, the show downplayed this subtext as much as it possibly could while still making it a central part of the episode, because of course it did, but in real life, the most obvious implication to this kind of dynamic is that Mary thinks Castiel is her son-in-law.

That is the unavoidable conclusion the (sub)text is offering us. If it can really be called subtext. As I doubt mainstream audiences recognised the implication, despite its obviousness, I guess it still is.

(Whether Dean, Castiel, or for that matter, Sam, think Castiel has married into the family is a whole other post. But whatever they think, the implication is unavoidably offered to us in this episode – Mary considers Castiel her son-in-law now.)

That Would Be Enough

Request: HEY HEY HEY HEY HEY HEY HEY HEY I JUST HAD THE GREATEST IDEA WHAT IF READER AND LIN WAS TOGETHER AND THEN READER GETS PREGNANT AND THEN READER IS SOO’S UNDERSTUDY SO THEN READER PERFORMS THAT WOULD BE ENOUGH AND THEN LIN STARTS CRYING IN THE MIDDLE OF HIS PERFORMANCE BECAUSE HE JUST REALIZED WHEN YOU STARTED SINGING AND ITS SUPER ADORBALE??????????? IDK

Warnings: none (that’s a lie- google translated spanish lol)

Tags: none

Time Period: modern

Notes: i’m writing this in the middle of class and i require assistance (pls save me from this hell)
_______________________________________________________________________

Keep reading

anonymous asked:

hi, I love your videos and wondered what you think about the theory that sean sexually abused nathan? in the main game theres been a few hints, including the deleted scenes (max literally calls nathan "seans bitch"), and also the fact sean spends sooo much money on nathan even tho hes obviously disappointed in him. hush money is smth strongly associated with sexual abuse, and rarely with other forms. Ive never seen a video about this theory and maybe u think its bull, but would love ur opinion

First of all, thank you :D and second of all, I agree with that theory. 

When it comes to the dialogue (Max calling Nathan “Sean’s bitch” in deleted audio, Nathan calling his own dad “big daddy” in deleted audio, and Max calling Nathan’s father his “sugar daddy” in ep3), I do think, to some extent, some of this could be due to a language barrier / poor writing that a lot of the rest of the dialogue suffers from. 

Even without this dialogue though, you’re right, I still think the evidence is there (and the dialogue adds to it). I remember back in the day there was a lot (well, ‘a lot’ for the ‘Nathan sub-fandom’ on Tumblr at least) of circling of how Nathan covered his crotch when he was in the presence of Jefferson (notably in the Principal’s office). Jefferson and Nathan’s entire dynamic is suspect in itself; when Jefferson “mentored” other characters (like Rachel and Kate…), I get the impression that the relationships there were less than innocent sexually (especially for Rachel). I actually did a mini theory video on Jefferson and Nathan’s “father-son” relationship, and how evidence of it being sexual (i.e. of Nathan being raped…) is perhaps brought up in the nightmare scene.

I know that Jefferson’s character (and a lot of LiS) is inspired by Top of the Lake (it’s referenced in Jefferson’s numberplate) which, if you didn’t know is… (((SPOILER)))… revolved around a paedophile ring. The links between that and the darkroom in LiS are rather clear, though LiS, in the end, seemed a bit touch-and-go with the whole rape part.

But given that, originally, it seems Jefferson and Sean Prescott were running this kidnapping ring together, and Nathan really was their “bitch” doing some of the dirty work, it’s plausible that Nathan’s father reared him to accept Jefferson and Nathan’s “father-son relationship” as a normal “father-son relationship”. Given the nature of the ‘family business’ Nathan was raised to participate in, father-son sexual exploitation is not out of the picture. 

I’m certainly no expert on the after effects of this, but I know body image issues can certainly be a part of them and people have brought up before how Nathan wears about 3 layers of shirt wherever he goes covering his entire body (though of course this is not indicative of abuse in its own right) and he was buying extra-strength diet pills on his computer (though, talking storywise, I do think the devs may have intended those to be the laxatives Nathan cut his drugs with). 

Another common symptom, apparently, is ‘odd’ sexual behaviour at a young age – obviously Nathan in LiS is 18 years old so sexual expression is absolutely normal, but he certainly does hammer it into himself to the point it covers most of the walls in his room (that is, BDSM and fetish porn, and also pictures of people with tumors (?) though I don’t think that set is sexual). 

But maybe the most telling symptom of all, that is constantly brought up through LiS (well, at least to me, because I rather obsessively look out for these things…), is Nathan’s severe aversion to touch. Now that can really develop through no abuse or other kinds of abuse itself – and Nathan definitely was abused by his father and possibly other family members, it may just not have been sexual. But, for good measure, we can see him pull out the gun when Chloe pushes him and touches him arm for the second time in the bathroom, he headbutts Warren when he touches Nathan on the arm, he loosely grabs Max by the neck when she touches both of his arms from behind, he (as said) covers his crotch in the presence of Jefferson, and, even in Before the Storm, we see him violently shove Samantha off of him and react viscerally to Drew patting his face.

Not to be crude, but – Jefferson says their relationship “was kind of… touching for awhile.” I’m sure it was :/

(You’ve inspired me to make another theory video so I shall have that on the way soon! There is more I’ve missed and I know it, so I’ll come back to you soon!)

Going down? Tips and tricks to make it better for him.

First, let’s talk hot spots.  I think I’m going to have to bust out the cockshroom again for this one.  Check out C, the frenulum.  This little space on the underside of the cock, where the shaft meets the head, is a hotbed of nerves.  Do not neglect the frenulum!  A few long, slow licks (flatten your tongue for maximum sensation) across it will feel delicious.  I’ll cover other handy tongue tricks for this area later on.  Moving on to B- the coronal ridge, another nerve hotspot.  Lick it, nibble it (gently!), place your lips immediately beneath it and just apply soft suction to the head…he’ll squirm in delight, I promise you.  Just make sure that any suction concentrated on the head isn’t too much too soon. If you want to really rock his world, wait until he’s pulsing (close to orgasm) and just suck the head. It won’t be enough to get him off, just enough to make him beg you to do that with more of his cock in your mouth. ;  ) There’s another spot that deserves attention that isn’t marked on the shroom. (The slit- the opening in the top of his cock. Gently probing it with your tongue can be incredibly pleasurable for him. And don’t give me any crap about it being icky, ladies. It’s not.

Next up, the testicles. Don’t leave the twins out when you’re going down on him.  Just a few of the things you can do to his balls:  lick them while you’re using your hand on his shaft, suck them into your mouth and hum (sounds silly, feels great), lightly scrape your teeth across them, cup them in the palm of your hand while your mouth is busy above them.  If you want to give him an experience he’ll never forget, take all of his cock in your mouth, then stick your tongue out and lick his balls.  This takes some practice (and a limber tongue) but it’s possible. The double pleasure of being deep-throated and having his balls licked will blow him away. Another neat little trick is to cup his balls when he’s close to ejaculation and, just as you feel him start to come, pull them away from his body. Don’t pull too hard- no chainsaw cranking motions!- just tug gently.  It sounds odd and I can’t tell you why that feels good- mostly ’cause I don’t have balls- but it works. For a fun experience, have your guy shave them. You’ll love the smoothness and he’ll enjoy the enhanced sensation.

Tongue tricks:

  • When you first go down, use your tongue as though his cock is a dripping ice cream cone.  (Silly euphemism?  Yes.  Effective technique?  Hell, yes.)  Swirl around his entire cock in a circular motion.  Lick up the sides, being sure to come into contact with the ridge (B) as you move upwards.
  • Start at the very bottom of his shaft, right where his cock and balls meet, and lick slooooooowly all the way up to the tip.  Basically you’ll be tracing the vein on the underside of his cock with your tongue.
  • Follow that same path again, but this time use just the tip of your tongue to softly flicker all the way up and then around the head of his cock.  Flickering your tongue this way makes for a nice contrasting move if you alternate it with firmer licks.
  • Like I said earlier, flatten your tongue and lave the frenulum with it.  Do this a few times, then swipe your entire tongue across the head in a slow motion. Repeat a few times and increase the tempo as you go.  He’ll love it.
  • Make a fist around the bottom of his shaft and press downwards (gently, don’t shove) to tighten the skin across his head and shaft, then start to work on him with your tongue. Holding the skin tight this way will make every touch of your tongue feel more intense.
  • Get the frenulum wet with your  tongue, then slowly slide your finger back and forth across it while you lick the rest of his shaft.

There are a million ways to use your tongue on his cock. Try different strokes and licks until you find things he really likes. Whatever you do, don’t just focus on one part and neglect the rest of him.

The rest of tips and ideas I have for you are pretty random and don’t easily fit into categories like “tongue tricks”, so I’m just going to do them in bullet points.

  • Food play can be fun, so grab the whipped cream or chocolate syrup and make a mess that’s fun to clean up.  Yeah, it’s clichéd, but clichés usually exist for a reason.  If you want to crank things up a notch, use honey- it’s much harder to get all of the honey off so it’ll take more of an effort.  Just don’t get it in his hair!
  • Use your hands. Grab the base of his shaft and suck just the head, squeeze the head gently or work your hand around it (make sure he’s wet first for maximum fun for him) while you lick the shaft.   When you feel like taking a break, grip his cock with both of your hands and move each one in around him a different way.  Do NOT twist too hard, just slide your hands in opposite directions.
  • When you’re in a position where you can really take him into your mouth without worrying about teeth, put your lips on the head of his cock, slide your hands around him, grab his ass and push him into your mouth while you swirl your tongue around him. He’ll probably enjoy the slightly forceful shade to this move.
  • If you’re feeling a little submissive, have him thread his fingers through your hair and hold your head still while he controls the speed and depth of his thrusts into your mouth.  Again, there’s a dom/sub flavor here that gives things an extra little spark.
  • Make sure your position is conducive to good head- there’s the obvious, like kneeling in front of him while he sits on the couch or bed, but other positions work just fine too, like laying on your back and letting him kneel/squat/stand above your head, and, of course, the ever-reliable 69.  Just make sure you’re not coming at him from an angle.  You want him aimed straight towards the back of your mouth, otherwise you’re risking scraping him with your teeth.
  • Speaking of teeth, WATCH THEM! They hurt.  Nibbling is okay, lightly scraping the head or shaft intentionally is just fine.  Grating him against your molars (or, god forbid, incisors) because you’ve got your head or his body turned the wrong way is bad, bad, bad.  Say “teeth” and “blowjob” in the same sentence and most men will cringe.  Spare your man and be careful with your chompers.
  • Pop a breath mint first.  I’m sure you’ve heard it before…pretty much everyone knows about the whole Altoid thing.  Mint = good.
  • Suck.  The term “blowjob” is misleading, obviously. Although wetting the head then alternating warm and cold breaths can be fun as a little bit of a teaser, you don’t really spend any time blowing on it.  Unfortunately, some women don’t realize they’re supposed to actually suck, not just slide their mouths up and down.  Suction is a good thing. (Poor Martha Stewart, I’m wearing her catchphrase out in ways she probably never imagined it would be used.)  You can do this gently or forcefully, but don’t do it too hard. Hint:  if he’s getting a hickey on the head of his cock, you’re overdoing it.  You know that lovely phrase some guys use:  “She could suck the chrome off a trailer hitch”…well, it’s not a compliment.  Hard sucking has its uses, but for the most part you don’t want to pretend you’re trying to rip it off.  That might scare him.  On the other hand, sucking too gently won’t do much for him.  Experiment with different pressures to see what flips his switch.
  • Sometimes it’s great to just dive right in and swallow his cock all at once, but taking it slow can be good too- especially if he’s not hard when you start. Tease him with your tongue, lick and nibble at his inner thighs (yeah, they like it just as much as we do), trail your tongue along the seam on the front of his balls and below them (or even farther if you’re into that).  Touch him lightly with your fingertips or gently drag your nails up and down his cock. Every now and then it’s okay to be a cock-tease.
  • I read about this trick somewhere online a long time ago and fell in love with it immediately:  get a cup of hot tea (not too hot) and a cup of ice water. Get your man hard, then alternate taking sips of each drink.  While holding the liquid in your mouth, slide your lips down over his shaft.  He’ll love the varied sensations!
  • Hum. Take his cock into your mouth and suck gently while you hum.  The vibrations will feel great for him and this is a nice little stopping point if you need a break.  After all, humming doesn’t require much effort.  If you want to make him laugh, try humming “Yankee Doodle Dandy”.
  • Use a small toy or your finger in his ass while you go down on him.  The two pleasures combined will make for a geyser of an orgasm, I promise you.  For more instruction on ass-play, read the archives of my blogs.  I don’t feel like going in to it right now (no pun intended).
  • Take him as far into your mouth as you can get him without actually deep-throating. The goal here is to have the head of his cock at the very back of your mouth but not quite into your throat.  Get him there, then swallow.  The contractions of your upper throat muscles around his cock will have him begging for more of the same.
  • Deep-throating- the holy grail of blowjobs- isn’t as impossible as it seems.  The trick to being able to take him all the way is breath control. Inhale through your nose as you move downwards on his cock, hold your breath until he’s pulling out of your throat, then exhale through your nose while he’s still in your mouth.  If you time it right, you can give him a long, long series of DT strokes without ever fully taking him out of your mouth.
  • If deep-throating is an issue because of your gag reflex, here’s a nice little hint:  use Chloraseptic spray or some other oral analgesic right before you attempt it. Being a little bit numbed will help you control the urge to gag.  Also, move slowly.  You’re less likely to feel like you’re choking if you don’t cram him down your throat before you’re ready to.
  • Look at him while you’re going down. Eye contact makes almost everything in bed better.
  • Pre-come  makes for a great opportunity to give him a visual he won’t forget anytime soon. Look at him and smile while you’re licking it.  He.  Will.  Love.  It.
  • Show him that you’re enjoying what you’re doing.  Moan around his cock (vibrations!) or find some other way to show him you love it.  He’ll appreciate the enthusiasm.
  • For a more mutually beneficial experience, have him touch you while you’re going down. Ladies, having an orgasm while you’re pleasuring him will only serve to increase your talents, I can assure you. Just don’t get too excited and bite down!
  • After he has come, keep him in your mouth and gently suckle him.  Don’t do too much because he’ll probably be sensitive as hell right after ejaculation, but you don’t have to stop altogether.
  • Speaking of coming, let’s talk about swallowing versus spitting.  I’ve covered this in another blog, but for you newbies, men really and truly don’t care which way you do it.  Most men seem to prefer swallowing.  That’s totally understandable but having a preference for it doesn’t make it a requirement.  If you spit, that’s fine and dandy, just avoid spitting it on him in an unladylike way or making a face like you’re disgusted…don’t ruin his moment.  Keep a tissue handy and discreetly spit into it after you’re finished.  If you haven’ t ever swallowed or even taken his orgasm in your mouth, give it a shot (pun fully intended).  It’s not gross, distasteful, or unsanitary.  If you absolutely cannot handle having it in your mouth, then at least use your hand to get him off when he’s ready to blow.  Don’t just pull away and make him do it himself at that final moment…would you appreciate it if he did the same to you?

Love and peace and a lovely piece to you all.

Conditioned (Part 2)


(You ask Tae for some help around the apartment and he learns that you have some other things in mind.)

Warnings:  Smut.  Exhibitionism. Voyeurism. Masturbation.  Female Dom.  Male Sub.  Just shy of 8k words.


 

11:13am (unknown number)    Do you have a hammer I can borrow?

11:13am (unknown number)    Also, are you available to come with the hammer to do the actual hammering of nails into the wall?

Tae looked curiously at the text messages on his phone.  The number was unknown and the request came out of the blue.  Who is this? He texted back.

11:15am (unknown number)   Because it looked like you had a pretty strong grip when you had your hand wrapped around you cock at the bar that night.  I think you would do a good job at nailing things.

Tae went slack jawed at the realization that it was you texting him.  It had been two weeks since he saw you at the bar and he had given up hope of hearing from you.  He thought about that night repeatedly, remembering the feeling of standing in a public hallway, masturbating while you watched him.  Almost every night since then, Tae would look out his bedroom window, staring into the darkness, replaying the events of that night, and stroking himself to an orgasm.

That same night at the bar, you left with Jimin.  Everyone had exited the bar at the same time.  Jin and Youngsook jumped into a cab together, so eager to go home and have sex with each other that they didn’t even bother saying good bye.  Tae hailed a taxi for Miri and held the door for her like a gentleman.  Miri had lingered, offering to share the taxi with Tae, but he politely declined and sent the cab on its way.  Tae then turned to see you and Jimin, whispering to each other and laughing. Jimin’s arm was around your waist but slowly creeped downward until his hand was planted firmly on your ass.   You and Jimin took the next taxi together, leaving Tae alone on the street with nothing more than a wave good bye and well wishes for a good night.

Jimin called Tae the next day to share what happened between the two of you.

Keep reading

I heard some people in the fandom say that they fear Lotor as a character, thinking his is predestined to be a sexist perverted dickhead in VLD. The thing is the creepy Lotor some hate and fear (which is something I agree with *shutters*) came from the subs, or as it was called Beast King Go Lion, which were a lot darker and edgier than any of the other versions of the show, being more akin to Berserk or a darker version of Game of Thrones. It had things like forced cannibalism, the Galra drinking the blood of the dead, people being sliced in half,  decapitating heads, showing trophy heads, blood raining from the sky and making people explode, on screen deaths of women and children, and a whole lot of other things even darker then that! If it got a western rating, it would be rated R, hands down. The only reason why it got dubbed in the west in the 80s because of miscommunication  and the people who bought it wanted to buy another show to dub instead. (Although, it makes me wonder why the people who brought Voltron over to the west to dub it back in the 80s, thought, “This would be a great show for kids!” when they saw all the above things mentioned. But it could’ve been 4Kids logic, I suppose.)

The darker elements I just mentioned did not obviously carry over into VLD. In fact, all of the other adaptions of Go Lion, including Defender of the Universe or the dubbed version of Go Lion, had the more messed up elements from Go Lion scrapped automatically.  Do not get me wrong; the creators of VLD aren’t ignoring Go Lion (because they gave Shiro his Go Lion name and use some of the subbed terms like Galra and Altea, after all), but they did leave out the, for a lack of a better word, fucked up stuff like I mentioned before on the way side while doing this new version.  Sure, VLD can get dark like having on screen deaths of the secondary characters, all of the Alteans except for Coran, Haggar and Allura being killed, planets being destroyed like the Death Star did in Star Wars, hinting at the mermaid people being eaten by a giant sea monster and the fights getting more intense, but not anywhere near as dark as Go Lion ever was! A lot of the violence and themes in VLD are still appropriate for kids and adults to watch together.

Lotor and his subbed counterpart are two totally different characters.

Subbed!Lotor, or Sincline as he was named in that version, was a lot more twisted. He had the obsession with Allura and wanted her to be his because she looked like his dead mother, killing people to get his prize. He wanted to kill Akira, or Keith as he is called in VLD, take Allura to be his. He had no compassion and was outright sadistic, laughing after he murdered people. He was super unhinged. He  once killed one of his slaves because they spilled wine on him. He has really bad temper tantrums. He even killed his own grandmother and father!

Dub!Lotor, while by no means a saint and some of his actions were still wrong, I would never justify some of his actions, is not anywhere near as dark or perverted as Sincline by a huge long shot. He had a lot more shades of grey to him. He was belittled by his father constantly for his half!Altean side and wanted to prove himself more to be worthy in his eyes. He  helped out the team on occasion. His obsession with Allura came off as more as an intense crush, even respecting her as a person more and having a soft spot for her.   He had a rivalry with Keith. He did not derive pleasure from killing others and had compassion for some other people.  He rebelled against his father numerous times, not agreeing with everything he did. He was a huge dork, who fell out of a tree while on a mission among other embarrassing things. Hell, dub!Lotor never even had a harem! 

I find it more likely they will adapt the dub version of Lotor then the more one dimensional and creepy subbed counterpart…who also gives me nightmares, because it is more appropriate for the target audience and the creators grew up on Defender of the Universe! Lotor instead of his Go Lion counterpart.

Not to mention, Zarkon was just as bad as Sincline when he comes to women in Go Lion since he had a harem of his own and killed Sincline’s mother, which obviously never carried over to VLD at all. So I highly, highly doubt Lotor will be the same way in VLD if Zarkon never had a harem in this version or any other version outside of the twisted Go Lion one. The worst I can Lotor being like in VLD is him being a flirt or having a squad of fangirls and fanboys who follow him around for being a good looking crowned prince – that’s it.

Also in the previous versions: Allura was white, Pidge was a cis guy, Pidge sounded like Gollum from Lord of the Rings, Coran was dead serious 24/7, Keith had Shiro’s personality, Lance was the hot head, Lance had a mullet, Keith was part Altean, the Blade of Marmora was never a thing, the team was all together off the bat and a ton more.  The staff said numerous times that VLD is taking its own direction, not  copying the storylines of the other versions totally. They did it before already by making Galra Keith canon among many other things. Hell, the only the general storyline of Defender of the Universe/ Go Lion  is the same in VLD.  The only moments I can think of that match Go Lion dead on are when Shiro fights Haggar in the end of season one and when Keith flies the Black Lion – that is literally it. So the VLD staff don’t have to make Lotor a perverted dickhead like his Go Lion counterpart and can make their own version of the character, making VLD!Lotor into an anti hero or a complex villain. I can even Lotor possibly getting a redemption arc since his Defender of the Universe personality and backstory does present that chance, especially if he was that person in the Weblum like I honestly think he is, but even that is just a theory.

  The show staff on VLD are super talented people, the show being made by a lot of the same show staff who worked on Avatar and Korra,  so I have little doubt they will make Lotor far more multidimensional than his previous counterparts and make him more likable no mater what personality they decide to give him.  I highly, highly doubt they would be able to get away with Lotor being a super sexist perverted stalker along with all of the stuff his Go Lion counterpart did on a Y7 show. The worst case scenario I can see happening is him being like Gideon from Gravity Falls, even than that is less likely since it would be copying a character from another show made by a rival studio.

If I had to guess what Lotor would be like in VLD right now, it would be a mixture of Space!Zuko, mirror!Lance and Marik from YGO with a touch of Duke Devlin from YGO. Someone who has a has it out for the team for putting his father into a coma and wants to please his father, despite his father belittling him a lot. Over time, he might learn to not walk in his father’s footsteps and create his own path. Like Lance, he would have self doubt issues, love pampering himself and be a flirt.   With that said, that is just a guess.

Either way, I’m excited about Lotor and curious to see how the show staff will update him for a modern audience in VLD. The show staff, from what I heard, are excited to add him to the show, which is always the sign of something great.

One Gemini twin is a Pisces

Gemini are the drops in the ocean. Pisces are the entire ocean in a single drop, Gemini is the colours in the artists crate, Pisces is the whole illustration, in Esoteric astrology Pisces and Gemini are the closest signs to the divine. Pisces is the accumulation of all, and Gemini is the etheric body with the emerging recognition of duality. What we see with pisces is a more  fluid shift of sub personalities, like a water crystal that is liquid, and with Gemini the more observable changeability. Pisces and Gemini both emanate the 2nd ray of love and wisdom. The close nature of the Pisces and Gemini glyphs give a good indication of the sacred kinship this pair share, Gemini illustrates two straight lines, and Pisces, the two curved lines 

“Gemini is, therefore, one of the most important of the twelve signs and its influence lies behind everyone of them - a fact but little realized as yet by astrologers. This will be more fully understood when the triangle of Gemini and two opposing signs is studied. Because the Ray of Love-Wisdom, the second ray, pours through Gemini it becomes apparent how true is the occult teaching that love underlies the entire universe. Christ is indeed all things to all people and is the ultimate Gemini:

“I am made all things to all men, that I might by all means save some.”  

Leading up to this statement Christ says: “For though I be free from all men, yet have I made myself servant unto all, that I might gain the more. And unto the Jews I became as a Jew, that I might gain the Jews; to them that are under the law, as under the law, that I might gain them that are under the law; To them that are without law … as without law, that I might gain them that are without law. To the weak became I as weak, that I might gain the weak.” (1 Cor. 9:17)


“Esoterically, the reason that Venus is exalted in Pisces is connected with the relation of Pisces to the sign Gemini, of which Venus is the esoteric ruler, and also in relation to the fact that Venus is the Earth’s alter ego and is closely related to the human kingdom. This subject is too vast and complicated to be elaborated here, but the point should be remembered. The Fishes in Pisces are bound together, as [130] we have seen, and this is a symbol of the captivity of the soul in form, prior to the experience upon the Fixed Cross. The Twins in Gemini are symbols of the same basic duality, but the experience of the many changing incarnations has done its work, and the Band (uniting the two fishes) is in process of dissolution, for part of the work of Pluto is to “cut the thread which binds the two opposing lives together.”

quotes written by alice bailey

How To Read Like A Writer

One thing that may help you a lot with the outline or structure of your book, or even to give you some kind of insight on ‘how it’s done’, is taking apart a book that is similar to the novel you’re writing. Analyzing the book piece by piece, like a scientist. This may sound strange but it’s actually really helpful. Years ago (2006 actually) I found a blog by a German author called Andreas Eschbach and he wrote a post on how to analyze books in order to write better. I wrote down the parts that I found helpful and I still have these notes, so I thought I could share them with you.

When you write a query you’ll have to inform one or two books that are similar to your novel. So even if your story is very unique, you have to inform your future agent what fanbase would most likely be interested in reading your book. I suggest you grab a book that is the most similar to what you’re working on and try to do the following:

1. Summarize each chapter of the book in one sentence. This way you can create a sort of map of the book, which helps you to study the development of the plot.

2. Take a look at how the author worked on the following:

- What are the most important scenes? Where does the story take an important turn?

- What is the most important conflict? When and how is it introduced? When does the conflict get to its worst point? When and how do they solve it?

- What are the plot lines and are there any sub plots? Where do all plot and sub plot lines begin and end? How are these lines connected to each other?

- How does the author create suspense? Where do they give information and where do they hold them back? Where are things hidden to make the story more interesting?

3. Take a look at the characters and their development. Who are the most important characters? Which characters are well done and which aren’t? What is the difference between them?

4. Focus on the world building now. When does the author pause the story to describe the world? How do they describe things? When is it well done and when is it too much/not enough? Are there any mysteries regarding that world and if so, why? Is it all completely logical?

5. Try to summarize the whole plot (including spoilers) in a short text. Can you notice the most important elements of the plot and the whole story? 

6. Focus on specific scenes - the most important scenes. On the ones you loved and the ones you didn’t like.

Can you notice anything that you would change if you’d written it? How was the beginning like? And the ending? Was it fast-paced or slow? How is the vibe/atmosphere of the book and how does the author create that feeling?

7. Take a look at the writing style. Does it fit the genre? Are the words simple or sophisticated? Does the novel have a strong voice? Does it have different point of views and if so, how is it done? Does it ever get confusing or irritating?

Analyzing a book like that can help you a lot, especially if you’re not sure about your whole plot. In the end you can compare and see what you can improve in your own story.

I’d recommend doing this either before you start or after you’ve finished your novel so that you don’t get frustrated (sometimes comparing your work to someone else’s can be frustrating because we are always so hard on ourselves). Or maybe if you’re really stuck and don’t know how to go on with your story. 

Either way, this is a good exercise and it’s best done on books that you’ve read a few times or that you already know very well. 

Okja was a really fascinating film to watch, especially from a linguistic/cultural perspective… especially as a Korean-American, seeing a distinctly Korean-American character on screen (more on that, btw). But also, there were so many little things here and there that I found super interesting? Incoming list that was typed up as I was watching, which also means spoilers ahead (sorry to my mobile friends).

Also side note, the choice for musical style was really interesting. If anything, it just furthered the absurdity of this film, ahaha.

Keep reading