author of the chronicles of narnia

What is Narnia Week?

Narnia Week is a week celebrating C.S. Lewis’ most famous fantasy series - The Chronicles of Narnia, and the author himself. (The intention is to focus mainly on the original literary series.) Everyone is welcome to participate, and any type of work is acceptable. Tag your posts with #narniaweek2017 to be featured on the blog.

When is it?

6-12th August

The themes:

Day 1: Favourite Female Character
Day 2: Favourite Male Character 
Day 3: Favourite Non-Human Character 
Day 4: Favourite Book
Day 5: Favourite Movie
Day 6: Favourite Quote - from the books, movies, or by C.S. Lewis 
Day 7: Free Flow - e.g. AUs, themes of the books/movies, costumes, casts, locations etc.

Note: Narnia Week focuses on C.S. Lewis’ original literary series, but other media types are welcome. Should you have any questions at all, please feel free to send me a message :)

Follow this blog for more updates - there will be promos/reminders as time draws close. And please reblog this so no one misses out!

I hope to see you all soon! :) In the mean time, have a lovely summer and remember to live loved.

Oh, my dear child
you were much too young
for everything
they put you through

Pushed out of Narnia
without bow
without arrows
without crown
so you held your head
and found
new weapons

Exchanged queenship for
bow for
arrows for
your red sweet smile
for boys
and parties
and laughter

You keep fighting
for all that you
for all that they
have been

Because you are
a queen
you are
the gentle queen
the one
who smiles
while everyone else
stains the ground with
deep red

You are a woman
in a girl’s
and they
were your
and they’re gone

And you stay behind

Build yourself a life
from graves
from ashes and
corpses and
a kingdom that will
be yours again

Build it from
and smile
a rosary
slipping through your fingers
a prayer on
lipstick red lips

You are a queen
and you will


an ode to the last surviving Queen of Old, unknown author, ca 1950, found in a trunk, property of one Susan Wilder, born Pevensie {the one who lived on, with lipsticks and nylons and boys, the one who buried them all}

(attached is an image of the ode in its original state)

anonymous asked:

Hello! So I was scouring the Internet for advice today but I couldn't find any on this topic. My problem isn't that I don't have any ideas (I probably have too many) but the problem is that I don't LOVE any of my ideas. I like them. I think they're all fine ideas. But liking them isn't going to motivate me long enough to finish a novel. How can I give my ideas that extra uumph to make me love them? How can I figure out what's missing or why I don't feel this way about any of my ideas?

Hello, nonny!  What a challenging question…  This one’s been in my inbox a couple days, just because it’s such a big question.  But I’ve thought it over and I think I have some ideas for you :)

The Thrill Is Gone – How to Find It Again

So generally, there’s no one answer or cure-all to this problem.  I’ve had this issue multiple times, with different causes.  My first novel didn’t have enough meat to the plot; my second novel had been over-planned in my head to the point that it no longer excited me.  My third novel had way too much plot, so that by the time I got ¾ the way through, I’d written over 200K words and felt sick of the idea.  I started my fourth novel way too soon, and am now going back and planning it more!  So there are obviously many different reasons that a story doesn’t take off (or dries up eventually).

The first step is to figure out what’s missing, like you said.  There are a few aspects of your story to assess…

1. Plot

I’m discussing plot first because, to me, it’s the most important part of fiction.  Plot, conflict, and stakes are foremost to my stories.  You could have the most complex and sympathetic characters, but without plot, they’re static and become boring.  But for some reason, this is the part of story ideas that new authors neglect most!

So if your story has great characters and an immersive setting, but you can’t get into it, try asking a few questions about your plot:

  • What is the point of the plot?  What’s the message you’re conveying in the story?  Even if your story isn’t an allegory or a metaphor or the next Chronicles of Narnia, there should always be a conclusion to which all plots arrive – otherwise, the story can feel aimless.  The best way to find your message is to look at the conflicts involved (e.g. Man vs. Man, Man vs. Nature, etc.) and find the “winner”.  What worldview, belief, or concept “defeats” the other concepts?  It can be as simple as Good vs. Evil, or more complex, like Loving the Sincere Drug Addict vs. Settling for the Selfish Dentist (provokes the question “Is love worth danger in relationships?”).
  • Does the plot have ups and downs?  And really consider both ends of the spectrum here.  Stories become dull if they are made up of victory after victory – or if they’re made up of nothing but loss and tragedy.  No matter the genre, you have to strike some sort of balance, lest the story become predictable and emotionally non-engaging.  Find victories and failures, even in unassuming places, to keep readers invested and hopeful.
  • Do you have a satisfactory ending?  Or do you have the ending     planned yet?  I’ve found that I can’t really commit to an idea unless I see a resolution – otherwise I feel too nervous to start.  If you do have an ending planned, make sure it’s the right ending.  It can feel like there’s one possible conclusion, and once you’ve found it, you stick to it – but question it, brainstorm it.  It may not be a happy ending every time, but when you find the right one, you’ll know it.
  • Do you have the right plot at all?  Look at your story as a whole.  Does it start too early or too late, relative to the real meat,     the real action?  Is it told from the most impactful POV?  Does the plot cover too much ground for one book, or is it not enough to fill the pages?  Consider all the characters, backstories, and subplots you have, and ask yourself if any of them are more interesting than the main plot.  If so, shift your focus.  Use them instead.

2. Characters

Maybe it’s not your plot that’s going sideways.  Maybe you have it all worked out – the head, the tail, the whole damn thing – but it still doesn’t feel right.  It doesn’t feel like it’s coming to life, somehow.  It feels flat.

That can be a character problem.  It would be like sitting by the campfire and hearing the most fascinating, horrifying story, except it’s told by a man with The Most Boring Voice Who Talks So Incredibly Slowly and Takes All the Fun Out of Everything.  An example: The Hunger Games.  Those books bored the crap out of me.  Unless someone was being killed or Haymitch and Effie were interacting, I just didn’t care.  And those books had a great plot behind them!

So here’s what you need for a good cast of characters:

  • A solid protagonist.  Solid = three-dimensional, empathetic, and relatable; having a goal, an internal conflict, a self-image, and fears or shame.  They should have different facets of themselves – their head and their heart, their desires and doubts, and that little voice in their head that says, “Give up on that.  Be realistic.”  Give them strengths, weaknesses, and a couple of bad habits, for kicks.
  • A variety of supporting characters.  You don’t have to have thirty characters + six secret characters stuffed under your trench coat; but with however many characters you have, make them as different from each other as possible.  Give them some similarities, of course, so that they can relate to each other – but never make them so close together that you have to decide, “Who should say this line?  Character A or Character B?”  Make them unique enough that the words come out of their mouths, instead of you having to decide where to put the words, yourself.
  • Relationships, relationships, relationships.  And I’m not talking about romantic relationships.  I mean, sure, those too – but there are many different kinds of relationships to explore.  Friendships, enemy-ships (?), parent relationships, sibling-ships, silent alliances, “annoying friend-of-a-friend”-ships, “my-ex’s-little-sister”-ships, “you’re-the-ruler-of-the-galaxy-and-a-Sith-lord-but-also-my-dad-please-stop-being-evil”-ships…  You get the idea.  Make them unique, make them strong, and allow them to evolve over the course of the story.
  • Diverse morals, interests, and personalities.  My first short stories focused on white middle-class people who were culturally and politically identical.  They lived in one house, usually, and watched the same TV shows and made the same references.  They had the same sense of humor.  They rarely disagreed on anything that wasn’t clear-cut (e.g. “You drank the last Pepsi!”  “I was thirsty!”).  So do yourself a favor and don’t make my mistakes.  Give your characters unique ethics, cultures, backgrounds, personalities, goals, appearances, and conflicts.  You’ll be more invested by then, I’m sure.

3. Setting

Lastly, I’d like to add that while your characters and plot could be well-developed, there’s always a chance that they’re placed in the wrong setting.  This is why many story ideas can seem great, but won’t get off the ground – maybe they’re set in a pre-made universe like Middle Earth or Panem when they could be their own story.  Maybe your tragic romance is set in the middle of apocalyptic war, when instead, it should be drained down to a period piece.  Maybe your story is perfect, except you’re writing it too close to home – in the real world, in the present year.  There are a million factors to picking the right setting, including:

  • Applicable history and culture.  If you’re writing a story about someone who’s oppressed, or someone who’s a politician, or someone who’s a witch, you’re going to need to back that up with history.  Develop a history for the oppression or politics or witchcraft – where these things began, how they developed over time – and a culture for them now – how oppressed people survive and how witches in your world interact, etc.
  • Imaginative scenery, influenced by the characters.  Even if your story takes place in New York City in 2017, allow your characters’ living spaces and workplaces to have a unique touch – colors and quirks that your readers can see in their mind.  If even you can’t see what you’re writing, inspiration is going to be difficult to find.
  • A lifelike background.  Just because the plot focuses on your characters does not mean everything going on behind it should be quiet and dead.  Anyone who looks out a window in a city building can see other people living – people on the highway will see other cars taking other people other places.  Everyone who has a friend will hear a little something about their friend’s siblings, their friend’s friends, their friend’s neighbors.  Life and stories exist outside of your plot; make sure you’re not writing about a ship in a bottle.
  • An aesthetic.  That sounds gross and teen-tumblr-y, but let me tell you personally: I don’t feel truly ready to write (and love) my story until I can hear the music for the future movie adaptation – until I can see the kind of clothes the people wear, the games they play, the places they eat and shop.  I think of the colors and themes in my scenes (e.g. my first novel was set primarily at night in a grunge/city setting; my current novel is very green and outdoorsy and gives me that feeling of bonfires just after sunset).  Once you get that “feeling” from your story, you’ll know it.

Anyway, this reply took me like three days to write because I really wanted to get into it.  I hope some of this helps you to fall in love with one of your ideas, so you can get started :)  If you have any more questions, be sure to send them in!

(I have 26 questions in the inbox, though, so be patient with me…)

If you need advice on writing, fanfiction, or NaNoWriMo, you should maybe ask me!

Edmund x Reader : Memories - Part Two

Part One

Edmund x Reader – Memories pt. 2

Author’s Note: Hi hello I am back after two months (I think???) of being so inactive and with a new imagine for you guys! This is the collab fic I’m working on with my best friend, Rain, @logicaledmund  and this is absolutely long overdue. Super sorry about that. He he. Anyways, this is a bit short, maybe, and it sucks, definitely, but I really wanted to post something because I haven’t posted anything in so long and I’m going nuts asfwfehrbksgkf. Hahahaha. I guess that’s all, enjoy weird mistakes and typos. Enoy! -Gaby 😊

Setting: VODT

Word Count: 1,238

Contains: Sorcery, a bit of violence so it may be triggering, angst, fluff at the end, maybe??? Idk???


                                                          * * * 

Closing her eyes, Y/N leans against the railing of the ship, inhaling the salty scent of the sea. They had just left the island, and are continuing their voyage across the sea. She likes this; feeling calm and alone. Her moment is interrupted when she feels a presence beside her. Opening her eyes, she looks at the Just King standing beside her. She sighs.

For the past few days, Edmund had been insisting that Y/N was his wife when in fact, she isn’t. Or so she thinks. She doesn’t remember anything, after all.

“Yes, Edmund?”

“Er, um…may I join you?” he asks warily.

“You’re already standing beside me. It would be rude to ask you to leave.” Y/N responds dryly. Edmund’s cheeks turn a shade darker out of embarrassment and Y/N suddenly feels bad for responding the way she did.

“I- I’m sorry. I didn’t mean it like that.” She apologizes.

Edmund clears his throat awkwardly. “It’s fine.”

An awkward silence falls between the two teenagers, and Y/N clears her throat.

“So,” she begins, and Edmund turns to look at her.

“What exactly happened back there? At the island, I mean.” Y/N asks, regretting it the second the words leave her lips. She and Edmund would surely get in an argument again about it. Y/N has always been the stubborn one; she refused to believe in things until she actually saw them herself.

Edmund turns to her fully, and Y/N does the same.

“Y/N, you have to believe me when I tell you that I’m your husband, and you’re my wife.” Edmund says, and Y/N just sighs.

“I’m not your wife, Edmund. I’m too young to be your wife. I barely even know you,” she replies, throwing her hands up in the air, exasperated.

“Well you barely even know Caspian and Lucy and Eustace either,” Edmund begins, “yet you treat them differently with how you treat me. Why is that?”

“Because unlike you, Edmund, they don’t insist that I’m their wife, when clearly, I’m not.” Y/N snaps.

“Y/N, listen —”

“No, Edmund. I’m sorry, but I’m not your wife.” Y/N says the last part in a tone that made it seem like the end of their conversation. Edmund sighs, and Y/N shakes her head, walking away.

Edmund looks sadly at Y/N’s retreating form and drops his head in his hands.

“Everything alright, Ed?” his sister, Lucy, asks him worriedly.

He looks up to see her concerned expression and frowns.

“She still doesn’t think you’re her husband, huh?” Lucy asks, putting an arm around her older brother’s slumped shoulders. He shakes his head no, and Lucy smiles gently at him.

“Don’t worry about it, she’ll come around.” She assures him.

“But when, Luce? Lord Bern said that if she doesn’t get her memories back soon, she’ll die. I … I can’t have that. I can’t lose the most amazing girl in my life. It would kill me.” Edmund says, tearing up a bit. Lucy looks at her older brother sadly; she didn’t know how to cheer him up. She pulls him in for a hug, and Ed returns it weakly.

“Don’t worry, we’ll find a way to fix this. I promise.”

* * *

The ship rocked back and forth, and Y/N tossed and turned under the sheets.

“No! Don’t touch him!” Y/N screams, watching a young Edmund get beaten up by the White Witch’s creatures.


“Y/N don’t tell her!” Edmund shouts, and Y/N screams once Edmund receives another blow. At this point, Edmund can barely stand up. Tears well up in her eyes and Edmund is punched in the gut.

“Stop it! Please! Don’t hurt him!” Y/N screams.

“WHERE.” Another kick in the shin for Edmund, another scream from Y/N. “IS.” A punch to his jaw. “ASLAN’S.” A slap to the face. “ARMY.” A punch to his already bruised, and bloody lip. “HIDING.” Another kick to the stomach. Edmund falls to the floor, and Y/N screams as his frail body doesn’t move.

“EDMUND!” Y/N sobs.

“I’m going to ask you one last time, child.” Jadis whispers, so much hate and venom in her voice. “Where is Aslan’s army hiding?”

Y/N looks at Edmund’s frail body, tears trailing down her wet cheeks and her bottom lip trembling. Then she looks back at the White Witch’s cruel face glaring down at her. She looks down, her tears falling to her feet.

“I’m so sorry, Aslan.” Y/N whispers. She looks up at Jadis.

“They’re at the Stone Table.” Y/N answers defeatedly. Jadis smiles wickedly.

“You’re just as much of a traitor as he is.” Jadis says.


“NO!” Y/N screams, and she wakes up in a cold sweat. She breathes heavily, wiping the sweat from her forehead. Y/N releases a breath she didn’t realize she had been holding in and sighs. Removing the sheets from her body, she runs a hand through her messy hair and stands up. She had been having these nightmares ever since they left that island. Ever since she supposedly lost her memories. And every night, she dreams of the same thing. It always begins and ends like that.

Y/N, knowing she won’t be getting any sleep after that, opens the door and walks out. She decides to get some fresh air and walks up the stairs leading to the top of the deck. The top deck is empty, everyone must have either gone to bed or are in the bottom deck. Walking over to the railing, Y/N leans on it, holding onto it tightly. She closes her eyes, and lets out the tears she’s been holding in ever since. Soft sobs leave her lips and she silently hopes no one can hear her.

“Y/N?” Great. Just great. Y/N feels a presence beside her, a presence that was once unfamiliar to her, now feels so familiar. She opens her eyes, and her tear-filled eyes meet Edmund’s worried ones.

“Are you okay?” Edmund asks. “Wait, you’re crying. I’m so stupid. I shouldn’t be asking you — ”

Y/N steps closer to Edmund and wraps her arms around his waist. Edmund, obviously caught off guard, doesn’t react for a few seconds. Once he realizes what’s happening, that his wife, his wife, is finally in his arms, he wraps his arms around her small frame tightly. Y/N rests her head on his chest, and Edmund rests his chin on the top of her head. He presses a soft kiss to her head, slightly afraid that she might not like it and it will ruin their little moment. But he relaxes once she doesn’t react and just hugs him tightly in response. He breathes in her sweet scent, and it calms him like always. When they finally pull away, Edmund holds Y/N at arm’s length, and he gently wipes away the remaining tears with his thumb.

“What’s wrong?” Edmund asks softly. And he wishes he never asked her in the first place. That one word that Edmund hates leaves her trembling, pink lips.


“Oh, love.” He whispers, and pulls her in for a hug again. Y/N doesn’t complain though; although she hated Edmund for insisting that she was his wife and for always getting on her nerves, his presence and his hug felt so familiar and comforting. For the first time in days, Y/N felt safe. She felt at ease. She felt at home in Edmund’s arms.

You all can talk about how cruel is John Green for killing off main characters and breaking your heart, but the worst thing I’ve ever read is The Last Battle. Yeah, Chronicles of Narnia.
(akward pause before I start screaming)
Alright, I just hate that.

Why you should be proud to be a SAGITTARIUS!

Brad Pitt is an archer.

Originally posted by theloupgaroux

Crowley Eusford is an archer.

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Shinya Hiragi is an archer.

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Kyoya Ootori is an archer.

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Scarlett Johansson is an archer.

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Jane Fonda is an archer.

Kiichi is an archer.

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Bill Nye is an archer.

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Jon Stewart is an archer.

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Your queen Nicki Minaj is an archer.

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Mary Todd (wife of Abraham Lincoln) is an archer.

APH Finland is an archer.

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Tata Young (singer of “Sexy, Naughty, Bitchy) is an archer.

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Britney Spears is an archer.

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Jane Austen (Feminist before her time in Regency England and famous author) is an archer.

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Ciel Phantomhive is an archer.

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Wakana (wife of the half-demon and hottest male character in Nurarihyon no Mago) is an archer.

Anna Kushina from K Project is an archer.

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Lelouch vi Britannia is an archer.

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Marianne vi Britannia is an archer.

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Victoria Vantoch (wife of Misha Collins) is an archer.

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Emily Mortimer (voice actor of Sophie Hatter) is an archer.

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Anna Faris (wife of Chris Pratt) is an archer.

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Kaneki Ken is an archer.

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Uta is an archer.

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Amy Lee (singer of Evanescence) is an archer.

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Thuy Trang (Yellow Ranger) is an archer.

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The author of Kamisama Hajimemashita is an archer.

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The author of Gekkan Shoujo Nozaki-kun is an archer.

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Ikuto Tsukiyomi is an archer.

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Miketsukami Soushi is an archer.

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The author of Noragami is an archer.

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Jun Fukuyama is an archer.

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Miranda Otto (Eowyn) is an archer.

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C.S Lewis (author of The Chronicles of Narnia) is an archer.

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Koyuki (famous actress and wife of live action L Lawliet from Death Note) is an archer.

Ayaka (singer of the Final Fantasy ending and wife of Hiro Mizushima live action Sebastian Michaelis) is an archer.

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Ian Somerhalder is an archer.

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Suzume Chun-Chun (the best shoujo heroine ever from Hirunaka no Ryuusei) is an archer.

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Thoth (from Kamigami no Asobi) is an archer.

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Toshiro (from Bleach) is an archer.

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[C.S. Lewis] was completely the opposite from Tolkien. He had a great, deep, rolling voice and lectured in the very biggest of the lecture halls because he was intensely popular. He was mesmerizing…. Lewis would talk about the Middle Ages–often about small, queer details of that time that in the hands of other people would have been extremely boring. He would walk up and down–this rolling, little pear shape–tolling out in his great deep voice. You just hung on his words.
—  Diana Wynne Jones, author of the Chronicles of Chrestomanci, the Dalemark quartet, and Howl’s Moving Castle, on C.S. Lewis’s lectures.
world book day tag

I was tagged by @classic-literature-snob, thank you!

Who is your favorite author from your country?

ANDRZEJ SAPKOWSKI (is anyone surprised?). But I also love Andrzej Stasiuk and Szczepan Twardoch (Drach is fantastic).

Your favorite children’s book(s):

The Children of the Noisy Village, Moomins, The Secret Garden, Chronicles of Narnia and Harry Potter

A book that changed your life:

The Perks of Being a Wallflower, a.k.a. the reason I’m still alive?

The best book that i’ve read this year:

It’s cheating, because I haven’t finished it yet, but Kanak Sprak. (Yes, I know, you’re all tired of hearing me scream about this book. I will shut up about it one day. Just not today.) A Conjuring of Magic, A Little Life, Leyla and Jane Eyre were really good as well. I really enjoyed The Forbidden Wish, too. And I’m totally biased, but Mesut Özil’s book was great and I loved it? And Zlatan’s biography?

The worst book you read this year:

Kösem by Solmaz Kamuran. Disappointment of the year. But this is the only truly bad book I’ve read so far this year.

What book is totally overrated?

Six of Crows and Grisha trilogy didn’t live up to the hype, but they’re still really solid stories. SJM’s books, however, are just really fucking bad and I don’t get why so many people love them?

Randomly recommend a book for whatever reason

Surprise, surprise, The Witcher Series by Andrzej Sapkowski. (Not gonna lie, I’m sort of personally offended that any of y'all hasn’t read it yet.)

I’m tagging @heretherebebooks, @stargirl-carraway (poking you with a stick, Shayla, do some tags at last), @readingbooksinisrael, @halfthealphabet & @linebetween

Fun Fact: had C.S. Lewis never met J.R.R. Tolkien, he probably never would have become a Christian and written The Chronicles of Narnia and The Screwtape Letters.

Another Fun Fact: Tolkien once told Lewis that his Narnia idea was never going to catch on so he should just give it up.

Third Fun Fact: One woman was inspired by both their books so much she became a writer who wrote a book series called Harry Potter where she paid subtle homage to both authors in every single book.

anonymous asked:

I've been coming across your posts about Susan Pevensie. And from what I can tell, between Susan's wanting to be "grown up", Mark Studdock's desire be in "the in circle" and his non-fiction writings about "wanting to appear grown up" and losing oneself in the mundane and conventional, it seems that C.S.Lewis was writing about problems that he himself grappled with. And I think to call him misogynist is just so unfair.

Because I love it so much, the famous quote from his essay “On Three Ways of Writing for Children”:

Critics who treat ‘adult’ as a term of approval, instead of as a merely descriptive term, cannot be adult themselves. To be concerned about being grown up, to admire the grown up because it is grown up, to blush at the suspicion of being childish; these things are the marks of childhood and adolescence. And in childhood and adolescence they are, in moderation, healthy symptoms. Young things ought to want to grow. But to carry on into middle life or even into early manhood this concern about being adult is a mark of really arrested development. When I was ten, I read fairy tales in secret and would have been ashamed if I had been found doing so. Now that I am fifty I read them openly. When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.

This theme persists throughout his work–and not just in the specific desire to appear grown-up, which is Susan’s struggle, but in concerns about appearances in general. I have yet to read the Space Trilogy beyond Out of the Silent Planet, but the need you mention to be part of an in-crowd is studied in The Screwtape Letters as a particular flaw of the Patient. 

There’s a scene in that book that’s always stuck with me: Screwtape flying into a rage with Wormwood because he allowed the Patient, who’s been living between their clutches after falling into a negative social circle, to receive a much-needed shot of divine grace. Not by the means you’d guess. The man wasn’t even trying to contact God. He simply took a walk in a place he liked, and then he went and read a book–not a religious book, even, just a book he wanted to read. As a young, inexperienced demon, Wormwood can’t tell why this action, morally neutral on its face, should on no account have been allowed, so Screwtape tells him. The Patient did something purely for himself, with no desire to impress anyone. And doing that made him realize that lately he’d been doing a great many things he had no desire to do. Suddenly he’s in this cloud of grace, terrifying to demons, and Screwtape can’t even touch him. 

Lewis seems indeed to have written about his own struggles–and this concern about appearances might well have been chief among them. “Let him,” says Screwtape, after the Patient’s conversion, “if he has any bent that way, write a book about it; that is often an excellent way of sterilising the seeds which the Enemy plants in a human soul. Let him do anything but act.” In The Great Divorce, the speaker–an avatar of Lewis himself–communes with his old influence George MacDonald in the afterlife. MacDonald tells him of a soul who had devoted his life to writing about survivalism and was therefore disgusted with Heaven because, everyone having survived Death itself, there was no longer any need for it. When Lewis exclaims, “How fantastic!”, MacDonald retorts pointedly, “It is nearer to such as you than ye think. There have been men before now who got so interested in proving the existence of God that they came to care nothing for God Himself … as if the good Lord had nothing to do but exist! There have been some who were so occupied in spreading Christianity that they never gave a thought to Christ.” 

Among the perfections of Lewis’ heaven is a fountain from which artists must drink: “When you have drunk of it you forget forever all proprietorship in your own works. You enjoy them just as if they were someone else’s: without pride and without modesty.” We see an artist refuse this fountain, interested only in his influence in the afterlife, unaware that even on earth his movement has fallen out of fashion and his work forgotten. “Ink and catgut and paint were necessary down there,” a friend and fellow-painter tells him, “but they are also dangerous stimulants. Every poet and musician and artist, but for Grace, is drawn away from love of the thing he tells, to love of the telling till, down in Deep Hell, they cannot be interested in God at all but only in what they say about Him. For it doesn’t stop at being interested in paint, you know. They sink lower–become interested in their own personalities and then in nothing but their own reputations.” 

This is Lewis’ flaw and his fear, one he best expresses in terms of unbarred disgust in Mere Christianity: “He and you are two things of such a kind that if you really get into any kind of touch with Him you will, in fact, be humble—delightedly humble, feeling the infinite relief of having for once got rid of all the silly nonsense about your own dignity which has made you restless and unhappy all your life. He is trying to make you humble in order to make this moment possible: trying to take off a lot of silly, ugly, fancy-dress in which we have all got ourselves up and are strutting about like the little idiots we are. I wish I had got a bit further with humility myself: if I had, I could probably tell you more about the relief, the comfort, of taking the fancy-dress off—getting rid of the false self, with all its ‘Look at me’ and ‘Aren’t I a good boy?’ and all its posing and posturing. To get even near it, even for a moment, is like a drink of cold water to a man in a desert.”

Beneath the feminine trappings of nylons and lipsticks Susan suffers the same struggles that grown men do in Lewis’ world–that Lewis himself suffers bitterly from–and I think that’s all quite right. She is neither elevated above them like Dante’s Beatrice or placed below them as an inferior sort. She is a human being with the human problem, which Aslan perhaps states best in Prince Caspian: “You come of the Lord Adam and the Lady Eve, and that is both honor enough to erect the head of the poorest beggar, and shame enough to bow the shoulders of the greatest emperor on earth. Be content.”

30 hottest actors over 30

30. George Clooney (53; best known for being married to human rights lawyer Amal Alamuddin)

29. Shiloh Fernandez (30; best known for hooking up with a werewolf wearing a nice cape)

28. Adrian Grenier (38; best known for having a great entourage)

27. Josh Duhamel (42; best known for making you go “what? really?” once you find out he’s married to Black Eyed Pea Fergie)

26. Colin Farrel (38; best known for his roles in In Bruges, Total Recall, The Recreuit)

25. Aidan Turner (31; best known for his role in The Hobbit trilogy when he should be known for his outstanding performance of Mitchell in the original Being Human)

24. Michiel Huisman (33; best known for making me swoon a ton in Age of Adaline)

23. Ryan Gosling (34; best known for giving girls unrealistic expectations in men through his role as Noah in The Notebook)

22. Paul Walker (I’ve had a crush on this guy for 14 years. Such a genuinely beautiful man)

21. Mehcad Brooks (34)

20. pt. 1 Tom Hardy (37; best known for his role as Eames in Inception and Bane in The Dark Knight Rises)

20. pt. 2 Jonathan Rhys-Meyers (37; best known for his role as the king who created a new religion so he could marry the woman he loved. And then had her beheaded once he took a liking to another; they share the spot because they could be brothers)

19. pt. 1 Josh Hartnett (36; best known for his role in Pearl Harbour *starts sobbing*)

19. pt. 2 Garrett Hedlund (30; best known for his roles in On the Road, Country Strong and Tron. The reason why he shares the spot with Josh is that he looks eerily like the lovechild of Josh and Charlie Hunham. Not a bad thing at all)

18. Jesse Williams (33; best known for his role as Jackson on Grey’s Anatomy and his anti-racist activism)

17. Alex o’ Loughlin (38 - wow really?; best known for his roles in Moonlight and Hawaii 5-0)

16. Sebastian Stan (32; best known for haunting my friend Judith with his portrayal of Bucky Barnes in Captain America; also known for his role as The Mad Hatter on OUAT and Carter Baizen on Gossip Girl)

15.Taylor Kitsch  (33; best known for sleeping with his crippled best friend’s girlfriend while he was hospitalised in Friday Night Lights)

14. Andrew Garfield (31; best known as one half of Hollywood’s dreamiest couple and for his role as A better looking Tobey Maguire in Spiderman)

13. Charles Michael Davis (30; best known for his role as Marcel on The Originals)

12. Michael Fassbender (37; best known for his on and off camera bromance with fellow hunk James McAvoy in the new X-Men movies)

11. Hugh Jackman (46; best known as Wolverine)

10. Henry Cavill (31; best known for being buddies with Henry VIII on The Tudors)

9. Tom Hiddleston (34; best known for being the walking definition of Britishness and for playing Loki in the Marvel universe)

8. Will Smith (46; best known as The Fresh Bad Boy Man in Black of Independence)

7. Jude Law (42; best known for making me soon as soon as he starts talking and for his role as Graham in The Holiday - that’s probably not true but I decided to go with it because I really like that movie) 

6. James McAvoy (35; best known for playing a young Professor X in the new X-Men movies. No mind control necessary with me, mate)

5. Ben Barnes (33; best known for having the kind of sex appeal that makes watching any of his movies worthwhile and for his role as Prince Caspian in The Chronicles of Narnia)

4. Jake Gyllenhaal (34; best known for playing charismatic yet oftentimes intimidating characters of authority. For example in Source Code, Rendition, Prisoners, End of Watch and Brothers)

3. Idris Elba (42; best known as the only actor I will accept as the next Bond)

2. Cilian Murphy (38; best known for having a bunch of conmen mess with his subconscious in Inception and having eyes that have seen the stars)

1. Chris Evans (33; best known for being a 70 year old trapped in a young man’s body in Captain America)

The secret to being a legendary fantasy writer

Not only do you have to have quality content, but I recently figured out the secret to be a legendary fantasy writer.

What are some legendary fantasy books?

Chronicles of Narnia

The Hobbit/LOTR

Game of Thrones

The Harry Potter series

Time Machine

The Once and Future Kings

Now what do all these books have in common? Not only is it the genre, but also the writers.

C.S Lewis

J.R.R Tolkien

George R.R. Martin

J.K Rowling

H.G Wells

T.H White

Do you guys see it? O_O These writers have at least 2 initials in their names. Coincidence? I THINK NOT!

So not only do you need quality content in the first place, but just to guarantee yourself on the pedestal of greatness, have 2 or 3 initial letters in your author name.

A few random Scorose headcanons running around in my head

Rose Weasley loves books more than almost anything. As a kid her mom reads The Chronicles of Narnia to her and she’s in love and as she gets older she goes on to read Jane Austen and Charles Dickens, who become her two favorites (although Pride and Prejudice will always own her heart). After learning about muggle authors in muggle studies, Scorpius asks her to lend him some books and Rose gets so excited and they end up having their own little private book club, where he reads one of her favorites and she’ll reread it and then they’ll spend an evening in the library discussing it. (He also loves Pride and Prejudice, though he pretends not to). 

Rose has really long, wild, curly red hair and brightly blue eyes and a smattering of freckles across her face and shoulders. She doesn’t have the patience to deal with her hair so most days she just lets it do its things but occasionally Dominique or Lucy will take pity on her and braid it or something. Scorpius gets annoyed because her hair is always everywhere, but he prefers it when she wears it down and lets it be crazy.

Rose loves coffee and oversized sweaters. Scorpius prefers tea and somehow always seems to find his favorite sweaters going missing only to reappear a few days later on his petite girlfriend on whom they could be dresses. 

Scorpius’ birthday is in November and he’s a total winter person. He loves cold temperatures and snow and wrapping up in warm blankets in front of the fire. Rose’s birthday is in June and she hates the cold and wishes it could be summer year round because she loves swimming and running around outside barefoot and laying out under the stars with her best friends. 

Rose is ridiculously short, like 5′2 and impossibly bitter about it. The entire family thinks its hilarious that she’s the shortest one, even Grandma Molly is taller than her, and they tease her relentlessly for her height, which infuriates Rose. Scorpius is an entire foot taller than her and loves to remind her of it, though everyone knows that if it came down to the two of them Rose could hex him to pieces without batting an eye. 

Rose is ridiculously smart and does really well in classes without really trying. Except for potions. She’s terrible at potions because she never reads the directions thoroughly so she always ends up accidentally skipping a line or adding an ingredient too early. Scorpius is organized and does all his work and is rather good at potions because he is cautious and thorough and he reads the directions twice before even starting. 

Rose has a big personality and is loud and sometimes obnoxious. She loves PDA and holding hands and wearing matching christmas sweaters in December. Scorpius is more reserved and gets embarrassed by Rose’s public antics sometimes, but only because he’s been brought up in a family that was forced to keep to themselves if they wanted to survive. 

When Rose looks in the mirror of Erised she sees herself and Scorius together all alone, with nobody looking at them strangely because he’s a Malfoy and she’s a Weasley. When Scorpius looks in the mirror of Erised he sees his family and Rose’s family together and laughing, with no prejudices and no bad blood and nothing keeping Rose from being with him.

Lewis: You wanna break a record, Tollers? You already got it, for “world’s nerdiest old man.”
Tolkien: At least I’m not all keyed up to write a kids’ series.
Lewis: I’ll have you know that The Chronicles of Narnia has a big theology element and a lot of symbolism that goes over kids’ heads!