arthur's answers

max-arthur  asked:

Do you have any good/interesting stims you could recommend?

asdfghjk i probably wont answer this coherently bc i am hyper but also crashing rn lmao sorry. but anyway i love this question bc sharing stims is the BEST here are some of my more unusual stims

Body stims

  • twisting hands. like jazz hands but more twisty. like ur turning a doorknob but u go super fast and u feel the flap and gravity and all that
  • pshfjsh u kno when u crouch in full gargoyle pose? bounce on ur toes. thats some Good Shit
  • lightly hit ur chest as u breathe in and u feel it echo and its so good. be careful not to hurt urself tho
  • tap ur collarbone real fast
  • reading lit written in accented language. like OMAM and Trainspotting and such. disclaimer: my adhd dyslexic ass barely ever reads, but reading accented lit out loud is the best
  • similar: fast singing/raps. like have the lyrics up in front if u need them. go as fast as u can it is FUN
  • twirl a pen between ur fingers. bonus: increases dexterity. downside: u will launch ur pen at an authority figure. its inevitable
  • just like. dig ur head in rly hard to a sofa and like stroke it w ur face? i have no idea how to describe it but u know when a cat digs their face into soft things to rub against it? That but u r the cat

bkidvalsdgdbh ok thts all i can think on. everyone add on ur own more unusual stims that r fun !

2

And here it is!

My KetchSketch 

(well more than a sketch but ‘Ketch rendered painting’ doesn’t have the same ring to it, y’know?) 

merlin--loves--arthur  asked:

Do you have any tips on writing short stories? I have to write one for school but am having a ton of trouble condensing it down to 3,000 to 5,000 words.

Hi! So I was in the same boat you’re in for years. Every story I started ended up being a prologue to a trilogy that I never finished because I got caught up in world-building and dialogue and Big Plot!

Here are some suggestions on how to bring all that in to make a nice 3k to 5k story!

1) Skip the exposition. Take out the “Once upon a time” or history lesson or scene showing the main character doing a mundane task in an Unexpected Way. It’s going to take up a good 500 words of your story (at least) and has the nasty tendency of slowing down your pace! Instead, try feeding necessary information into the story when you need it and only then!  If you don’t need details to explain the actions happening in the story, leave them out! They’re background worldbuilding details and best saved for longer works.

Example:

Once upon a time there was a Kingdom named Kingdom. It had once been a peaceful and beautiful place, filled with open markets and friendly people, but the war had changed all of that. Now the markets were barren, trade routes disrupted by spilled blood, and the people stood anxiously watching the sun as they waited for family members to come home.

Sylvia hoped to be the one to save them from their eternal vigil.

She had in her bag a message from Country, the kingdom to the north that would change everything. Or, perhaps, restore it. Country was offering to reestablish trade with Kingdom.

She adjusted the straps of her bag and continued on, looking neither left or right as she passed by a town on the main road.

Instead, try:

Sylvia adjusted the straps of her pack and looked neither left nor right as she passed through yet another war-torn village. Her clothing, torn as it was, was better than that she saw on the villagers, but the message in her pack would change that.

…then later in the story introduce the trade idea as it’s presented to the King. Hope that makes sense!

2) Don’t condense–magnify! Your plot might be a Big Book idea and that’s okay! Short stories don’t have to span years or even days. They could span just one hour! A lot of short stories are just snap shots of main characters lives! They have rich histories and big futures, but for that one moment they’re slowed down enough for the reader!

So maybe Sylvia is from Kingdom, but moved to Country just before the war began. The conflict prevented her from coming back and she was forced to go years without contact with her parents. As a displaced child, she was put in an orphanage where she met the Prince of Country and became good friends with him. Then, when he became King, he decided he wanted to end this war and entrusted her, a Kingdom citizen and his friend, to carry this trade agreement to Kingdom.

So instead of starting there with her whole history, we start the story with her just coming into view of the Kingdom Capital and the story is how she sneaks in to get an audience with Kingdom’s King!

3) Resolve a smaller issue in the story: Part of what makes a story interesting is its layers. The Big Plot doesn’t have to be the only plot! Resolving a smaller issue–a character’s insecurity, collecting a necessary asset, etc– can make a really great short story!

Sylvia could, in a short story:

  • Go to meet her parents, see that they have another kid, and resolve to come back once the war is ended.
  • Find a Kingdom knight and convince him to take her to the King. Because how else is she going to get an audience with the King??
  • Find out that the Country’s King (her childhood BFF) is tailing her, yell at him, and march him back to the border before continuing on her way.


Hope this helps a bit! These are only a few ideas, there’s no right or wrong answer here :)  If anyone else has any advice, feel free to comment!

anonymous asked:

what happen if the boneheads had to help fight off the walking dead to save rick grimes and his group?

“I don’t know who this Rick-guy is, but I can only imagine the kind of trouble he gets in if he has to deal with the kind of crap we had to put up with that night. Artie was mad at Vivi for the longest time after this. Even after he forgave her, he was usually making sure Mystery inspected any suspicious-looking objects before Vivi could get a hold of them first.“

So, I had no idea who this person was talking about until I looked it up. Just for future reference, I haven’t seen a single episode of The Walking Dead, nor do I have any interest to watch it. XD; So I do apologize if it kind of seems like I’m dodging the question.

anonymous asked:

so i was reading your tags on this post - post/152985738704 and i was wondering if you could post your headcanons on where each weasley stood on the issue?

THIS IS MY MOMENT!! I’m so glad you asked <3 

After Percy’s betrayal during the war, the Weasleys were very divided in whether to forgive him and let him back into the family or not. He had, indisputably, stopped talking to them in favor of furthering his career, abandoned their fight for survival as well as all of their values, and made three separate Christmasses too miserable for words. 

It nearly tore them apart, when they were all together again after Fred’s funeral and the issue was still hanging in the air. The family fought it out that night - Percy did not speak up to defend himself even a little, and everyone was in tears or very near them. Molly, Charlie and George nearly split into a separate faction from Arthur, Bill, Ron and Ginny. 

Molly, of course, is willing to forgive everything. She lost one son in the war - why on earth does half of her family want to lose two? Mistakes happen. When it comes down to it, he’s family. 

Arthur’s political convictions are too strong to just let something like that have happened. He saw the breaking away of his middle-most son as a statement of something far beyond familial values. He couldn’t imagine how Molly could let a Pureblood Supremacist back into their home. After the things he’d done - the people he’d worked with, the backs he’d stepped on. No. Not after Arthur had spent twenty seven-odd years raising a family to do the right thing rather than the easy one. It was a personal and political slap in the face. 

Bill is an older brother to the core. He’s spent his whole life giving everything to his family, especially his siblings. He believes that love is time spent, and can’t imagine how Percy could profess to love them still and yet have broken away entirely. Bill was there to help - he could have…he could have stepped in, he could have been there if Percy had called on him. But he hadn’t. It’s unforgivable. 

Charlie’s opinion was haunted by the fact that they hadn’t heard the whole story. Arthur hadn’t let Percy speak. He believes that things are so much more grey than Percy is bad and should never come back or Percy is a saint because he’s related to us. He seeks his brother out one on one to try and draw out the whole story. When Percy is reluctant to even say it, it breaks Charlie’s heart more than it’s already broken. 

George couldn’t convict Percy, of course he couldn’t. Fred had loved him so much - and besides, how could George grieve without the other person who had watched the light behind his twin’s eyes extinguish? How could George grieve alone? 

Ron’s sense of morality is very black and white. He’s loyal to a fault and cannot imagine, under any circumstances, having abandoned his family in a similar way. What Percy did was disgusting. He’s the only one who’s as angry about it as Arthur is, although it’s very very personal to him. 

Ginny’s whole experience during the war felt scattered and wrong. She had people she loved everywhere and it hurt to imagine anything happening on any corner of the world. She hated Percy throughout the years he wasn’t speaking to them, hated him for making her feel so conflicted. She had a constant nagging feeling that if she could just get everyone she loved contained and on the same side and not running off to be an errand boy for the Ministry, or taking on secret missions, or leaving Hogwarts before absolutely having to leave her - if she could get everyone contained, she would have been fine. Instead, she was fourteen kinds of scared for three years. 

anonymous asked:

every story is a love story, I am thinking Foggy and Matt?

Matt sort of loves editing romance novels. He loves his publishing house, and most of all, he loves the most famous author he edits, his best friend Foggy, who writes some of the best love stories he’s ever read. But then when the publishing house starts an m/m imprint and Matt asks Foggy if he has anything for it (since he talks a lot about more representation in the genre), Foggy gets … really cagey.

But Matt is great at convincing Foggy of things, so he talks him into it, and then he reads the first manuscript Foggy digs out of his files. And it seems familiar. Really familiar. And then the love interest becomes a vigilante, and Matt realizes two things simultaneously:

1. He and Foggy are in love.

2. Foggy knows he’s Daredevil.

halerogers  asked:

also!!! arthur pendragon?

- Arthur is demisexual. He’s always had trouble connecting with his knights for any number of reasons, but the main reason is that he doesn’t quite understand all the vulgar talk that gets passed around on campaigns. Not that he doesn’t know what it means, he just doesn’t know why the conversation always turns to that and why it seems to be such a bonding experience for the other men. It usually just makes him uncomfortable and he inevitably ends up making excuses and returning to his tent before too long, even though he worries that it makes his men think he’s stuck up or unapproachable.

- Arthur doesn’t read well. He’s had the best tutors royalty could afford, but they never did much to fix the way the letters jump around on the page when he’s tired. He plows through court documents the best he can and tries to pay close attention when he has to write them out himself. On the field, though, is where he feels most comfortable. Swords are at least always consistent.

- Arthur has a habit of spinning the ring on his thumb. He got it as a hand-me-down from his father. He used to use it as a way to remind himself of the moments when his father had been pleased with him, of the shoulder-claps and back-slaps, the smiles and nods and encouraging words. It reminds him that he can be what his father needs from him. He is a good son and a fine prince, he is, it tells him. By now the motion is instinctively soothing.


headcanons!!

  • Arthur: *phone starts ringing*
  • Morgana: *looks to see who's calling*
  • Morgana: OMG YOU STILL CALL OUR DAD DADDY
  • Arthur: *answers call and makes direct eye contact with Morgana*
  • Arthur: Hey Merlin
  • Morgana: *faints*
Well, I guess we have to do icebreakers. I’m your uncle Arthur, and I fear bears. Why do I fear bears? Because bears can run at 30 miles per hour and the Los Angeles Zoo is 30 miles away. That means a bear can be outside this door in an hour. Why would a bear be here? Because they can smell fear and I fear them.
—  Arthur Blackthorn, meeting his nieces and nephews for the first time