even though she can not speak

anonymous asked:

Did Taylor specifically say dwoht wasn’t a breakup song?? Because I interpret it as one. It seems to me that it’s a song full of regret, for a relationship that just couldn’t be. No matter how hard they tried. And the bridge to me is one of longing. Where she’d dance with him again even though it’s dangerous. Not that she will protect him. Idk I just think people are trying to make it something it’s not so it will fit the narrative they want.

i can’t speak to what taylor said at the sessions BUT if the album is linear (which taylor has said publicly) then why would there be a breakup song between king of my heart and dress, two of the most emotional love songs on the album 

anonymous asked:

B - I always thought GR and Tony had some qualities in common, and that was part of what drew G to GR in the first place. I think Tony's a better person on the whole though I'm not a huge fan, tbh. Plus, I think G always sees the best in people. And haven't we all had that one person we think we can fix in our lives? I think G's eyes were open with B that love shouldn't be so hard. I think she was speaking about both Tony and GR in that statement.

I can definitely see similarities between GR and Tony but Tony, even though I’m not a big fan, is leaps and bounds above GR.  I still think its driving all parties involved crazy to see Gwen so happily confident.  They were used to using her people pleasing tendencies to get what they wanted.  Girl has been on fire since the fall of 2015!  Hmmm, what happened then?  Oh yeah!

- B

We’ve talked a lot about the repeated deaths, but that’s not all that can happen in this kind of situation. What kind of injuries do you think the IPRE dealt with until the year was up and they were reset?

Magnus loses an arm. It’s an early cycle and he shouldn’t have had to make that kind of sacrifice, but he did it to help someone else and no one is really surprised. No one knows what to do - should they offer to help him with things? Would that be insulting? When Magnus comes far too close to losing his other arm in the same year, he learns to ask for help when he needs it.

Merle is too close to an explosion and loses his hearing. Lucretia offers him one of her notebooks, and it’s both a wonderful idea and a mistake because he uses it both to communicate and to leave notes all over the ship. They’re very dad-like notes, commanding various crew members to pick up this mess or go do some chore. When they try to argue Merle just shakes his head and motions helplessly at his ears, even though they are writing him a note in return. It’s not long afterwards that they reach a world that has sign language and everyone learns the basics. 

Lup has been burned, badly, but it takes a while before she lets anyone help her manage the pain because she doesn’t want to feel better when she can’t do that for Taako because he died in a fucking fire. It’s Barry who finally catches her with her guard down late one night, and he and Merle find a combination of cooling spells and herbs that make the pain (the physical pain) more bearable.

Davenport is blinded, and for a while he won’t accept any help. He’s the captain, he’ll figure it out on his own. He tries to pilot the ship with muscle memory and crashes it somewhere remote, and he just screams in frustration at losing the one thing he’s the best at, even if it’s only for a year. He’s quiet for a while, not interacting and going through the motions as well as he can, until Magnus wanders into the cockpit and asks what the big, red button is for. Davenport explains, more of the crew wander in, and he ends telling all of them about the ins and outs of their vessel. It’s a good day, and after that (both that year and after) he spends less time in the cockpit and more time with his family.

Lucretia can’t walk anymore, not easily and then not at all, so Magnus offers to give her piggyback rides everywhere she wants to go whenever she wants. Lup and Barry make her a chair (permanently levitating so that stairs aren’t an issue), but she finds she likes the company while exploring the new towns. She takes up Magnus’s offer more often than anyone expects her to.

A landslide that takes Lup catches Taako, too; he takes a serious blow to the head. When he wakes up he doesn’t speak, and doesn’t really look at anyone. But he listens to them, he can hear them, and eventually Lucretia picks up some journals and sits with him. At first she reads, but eventually she just shares interesting things that happened that day and gossip; even though his expression doesn’t change she can tell he’s enjoying the conversation from the way his ears flick around with as much movement as always. When the year is done they still gossip, but it’s never one-sided. (Except when it is, years and years later. Taako has a bad day and Lucretia offers to read to him, and he lets her. It’s a little sign that things are… better. Improving.)

One year there are days Barry hurts too much to walk on his own, and Lucretia’s chair makes a second appearance. Lup isn’t there, or Magnus or Merle, so the ship is quiet more often than not… until Taako and Barry go barreling down the hallway together clinging to the chair and targeting Davenport of Lucretia. It shouldn’t be funny but it is - one light and fun moment during a particularly bad cycle.

While Chelsea is free, she STILL needs our support.

Please, keep in mind that even though she is free, she is still under the army, which means she can be back to prison for any petty reason such as writing/speaking something that the army does not particularly like.  

 She’ll remain on active duty, though unpaid, on what’s known as “voluntary excess leave.” That means that she’ll be required to abide by military rules – and if she breaks any of them, the military would have authority to punish her.

Also, she is still in the middle of her appeal to ultimately drop all the charges against her.

SHE WAS NOT PARDONED. Her sentence was commuted, so she is free, but still under the weight of her charges. So please keep an eye open.

Also, she deserves way more pepperoni on that slice of pizza, js.

you want to paint the underside of your coffin with glow in the dark stars so you’ve got something to look at. when you were in mass last sunday god spoke to you directly and asked you to please stop it. you’ve been trying to stop it.

she’s wearing a red dress that hugs her waist so tight that you picture your hands searching for your sanity somewhere in the folds of that body. between thighs like that. is this objectifying her? you worry to yourself, smashing lipstick on.

your head already hurts, and there’s a girl who is puking in the corner. you ask her if she needs anything, and she tells you she likes your dress, and you say thank you do you need water, and she says, it’s okay i’m going to die here, and you say, okay let me bring you water. so you bring her water, even though the other girls look nasty at you when you cut the line. it’s not for me, you try to explain, weakly, over bass that is breaking your eardrums. nobody likes a hero. the girl is surprised you’re back. she spits up daintily, almost neatly, and drinks the water in a single chug. she tells you to go back to partying, so you do, because she tells you to.

where the hell is your friend. it’s not like she promised she’d stay next to you but here you are and here she isn’t, which is either rude for both of you or just the average way of things.

nervous hands bring you back to the bar where at least you can linger and pout and think about god, and his hands, and the sun coming up tomorrow on the bones of your body. where if you keep your eyes down and don’t look up you won’t remember that all places of worship are churches and here you are, nursing a vodka tonic you finished five minutes ago, praying about hell while women cagedance not more than six yards from where you sit.

a man in a suit - an honest-to-god suit - comes up to you. the cloth is powder blue. he asks if you want a drink. you don’t. you say yes because your mother taught you not to turn down free things. he orders you something you don’t like and you lean across the bar and tell the bartender nicely that unless he wants you to die you will be drinking a shot of fireball and nothing else, thank you. the bartender says, i don’t want you to die.

you don’t say, okay, but, what if someone would finally let me die. that’s dark. that’s something you stow for your friend who has a good enough sense of humor.

you smile at the man, take the shot, wave at him, ask him to come dance, melt away into the crowd with that ability you learned somewhere in high school. now you’re alone again and can’t go back to the bar because the man will be looking. you remember you’ve got a phone finally.

you ask your friend where she is. she doesn’t reply coherently, but you like the addition of the cat emoji.

some terrible part of you slips into your skin now, the ache of wanting out. so you go out.

and there’s the girl in the red dress.   

you feel yourself choke like a car engine and it’s gosh dang embarrassing.

she’s laughing, blowing smoke up at the building. a man is standing next to her, but she makes eye contact with you. you ask her if she’s willing to bum you one. you’ve never smoked in your life and you’re terrified of them like guns. she nods and slips you a clover. you don’t let your hands shake in the glow of the lighter, only after, only when she smiles at you and asks you how you’re doing.

how am i doing? i’m very lonely and i think god abandoned me and it feels like a train wreck inside me. i feel myself reversing. my headlights are going out. tomorrow already hurts.

instead you shrug and say something inconsequential. you say, that’s a nice dress. even manage to keep how hard your heart is pounding out of it.

isn’t it? asks the man. you now remember he’s here. you have the urge to smoke suddenly. inhale deeply.

sorry to bother you, you say, just got too loud in there.

she nods, looking at you, mouth in a pretty smile. not bothering, she says, it’s okay. want to go back in with me?

her outstretched hand is soft and cold. you drop the clover. once inside she shouts over the music to you about how men are creeps. her lip touches your ear while she speaks. her hand doesn’t leave yours. she pulls you to the dance floor. your heart feels like a carousel.

she dances. your throat is dry. she takes your other hand and makes you dance with her, a silly little twisting thing. your palms are sweaty and she is laughing. she leans in to speak with you, pressing up against your body. there is lightning shooting out over your skin. she smells like roses. her hair seems soft.

she’s whispering something and for a second, the sound of corroding stops in your brain. like the train finally derailed and now it’s dead and can leave you out of it. like stuff gets quiet even though you’re drunk in public on a friday night.

so this is worship, then, you think.

you say, sorry, and she says ? for what? and you can’t speak.

when she turns around, you leave.

Give me Sirius Black and a Slytherin

Originally posted by it-is-just-the-begining

  • Give me Sirius Black and a Slytherin
  • Give me a girl that confuses him from the start
  • Because she looks like money and prejudice but talks better trash than everyone in the room
  • Give me a girl that Sirius can’t ignore, because even though she’s a Slytherin, and a pure blood
  • she still makes him twitch when she looks at him and bites her lip
  • Give me a girl that Sirius fights with just so that he can stand close to her
  • A girl that cheats on exams and lets her minions do her dirty work
  • A girl that only speaks words with hard, blunt edges
  • A girl that’s everything he hates and somehow all he wants, too
  • A girl that, for all her arrogance, is brave enough to look evil in the eye and smile
  • Brave enough to stay in a poisonous, terrifying world because she knows that’s where she can make a difference
  • Because there are innocent people trapped in that world that she needs to protect
  • A girl that will catch him off guard in the night, and with a wand to his neck pass him information that could win the war
  • A girl that will kiss like a firework and leave before he can say goodbye
  • A girl that will show him there is both light and dark inside us all

Seriously though when Zedd and Kesha’s song True Colors drops tomorrow please buy it when you can. The profits will benefit someone who’s struggled with assault and abuse and who’s voice was silenced when she tried to speak up. Who was dismissed her rights even when she said she spoke the truth. Who was told to lie about her assault case in order to gain her freedom. In this situation , Kesha needs all the support she can get and the easiest way to do that is by spending the 1.29 for the song. Illegally downloading doesn’t do shit.

Now, remember, one of the plots in the earlier films was the telepathic communication between my sister and me,” Hamill said. “So I thought, Carrie will sense that Han is in danger and try to contact me. And she won’t succeed, and, in frustration, she’ll go herself. Then we’re in the situation where all three of us are together, which is one of my favorite things in the original film, when we were on the Death Star. It’s just got a fun dynamic to it. So I thought it would have been more effective, and I still feel this way, though it’s just my opinion, that Leia would make it as far as she can, and, right when she is apprehended, maybe even facing death—Ba-boom! I come in and blow the guy away and the two of us go to where Han is facing off with his son, but we’re too late. The reason that’s important is that we witness his death, which carries enormous personal resonance into the next picture. As it is, Chewie’s there, and how much can you get out of [passable Chewbacca wail] ‘Nyaaarghhh!’ and two people who have known Han for, what, 20 minutes?
—  Mark Hamill Speaking The Actual Truth jfc in Vanity Fair

can we talk about how frank is the one to initiate the forehead touch in the elevator? he just leans into her and that’s it, he looks like he’s lost in the moment. and then karen backs away and you can see his eyes snap open like he forgot where he was. it’s such a reversal from their final scene in DDS2 in the woods where karen is reaching out, trying everything she can to bring him back over to her side of the line even though he ultimately shuts her out. I think it speaks volumes that frank is the one to initiate here and karen is the one who eventually pulls away and lets him leave because she knows he has to. their relationship, undefined and unlabeled, has changed and I think they both feel that. jon said it best, it definitely means something.

okay but

when rowan finally gets to aelin, and she’s probably locked inside the coffin without any hope of ever getting out, so completely battered and broken physically but content because she knows she did everything possible to give her people, her court, her family a chance, 
and then suddenly she hears some kind of inhuman roar through the iron box that muffles almost all noise, but somehow this sound is loud enough to still hurt her ears even through the box,
and screeching as someone physically rips open the box, and she can smell copious amounts of blood in the air and the entire cadre is there, summoned by Rowan for the break in a day earlier and using all of their strength to save the queen they want to serve from the one they deplore,
and they shakily lift her out of the coffin but she can’t even be grateful because Rowan’s not  t h e r e, and if he’s not with them he must be hurt and oh  g o d s what if he’s dead, and she’s starting to lose it because she can handle whippings and beatings and torture but she can’t handle her mate being gone, not having been able to save him–
and then there’s a shriek nearby and suddenly he’s there, her mate is there, in the same room as her, cut and bruised and limping but alive, and with him is Maeve, but something is different and–oh gods, her neck is broken, her mate killed the woman who has starred in every one of her nightmares for the last year, the ones that didn’t end when she woke up, when the pain from the bone deep injuries pulled her out of brief unconsciousness, her magic unable to heal so many extensive injuries, and not in an iron box, iron shavings sprinkled onto her tattered skin after her session every day before she could be returned to the coffin, Maeve is DEAD she’s finally gone, and aelin lets out the smallest sound of relief,
and then rowan is next to her, snatching her out of his brothers’ arms quickly, but so carefully, tears building up in his eyes at the sight of her in so much pain, shaking with rage at quite how much blood and muscle is visible,
and her mouth starts to move, and she wants to apologize for not telling him about the mating bond and for sacrificing herself and not telling him, but he can see it in her face and cocks his head in the way she knows means don’t you dare apologize, Fireheart and gods she has missed this effortless communication, and Rowan, everything about Rowan, her husband and consort and mate,
and they’re both grasping each other tightly to assure that they’re real, because Rowan has seen his mate’s face day in and day out in battle strategy discussions next to Aedion and in the nightmares that never seem to end, and Aelin never thought this suffering would end but he’s here, he came for her even though they both knew he shouldn’t have, and she can’t stop looking at him, at that face she loves, and then he turns to face her directly and for a moment she thinks she’s seeing double–but no, there’s that scar above his left eyebrow, so the only thing that makes sense is–
“You got a new tattoo.” her voice is quiet and hoarse, but still so unequivocally Aelin, and he wants to both laugh and sob into her because of course, of course that’s the first thing she notices, the first thing she says to him, the first thing his mate says to him after being apart for a year, so he nods and clears his throat,
“I–our story needed to be represented there too. I mentioned the idea to Fenrys the morning you–the morning after our ceremony. And then you were gone, and…” his throat felt swollen shut, but he continued speaking. “and then it seemed only right that you had a place next to Lyria’s, even though I hadn’t learned my lesson and…” he trails off, but she can read the “failed you, failed you both but here again Maeve went right by me and I failed you
“Buzzard,” she says, and she could tell him all the same with her eyes and her face but after so long of nothing escaping her mouth but screams, it feels so good to talk, “I can’t have you taking credit for my abduction when we both know I’m simply too clever of a mastermind for you to have realized what was happening. And you’re here now, and that…I could never have asked it of anyone. You came.”
“Of course I came,” he can’t stop looking at her, hands still wrapped gingerly around her emaciated frame, and if he hadn’t already rutting killed Maeve and Carn he would lose it right now at feeling her ribs poking at skin where there used to be layers of muscle. “I’m not just anyone.” his voice cracks, and he so so hates displays of emotion and mushiness but he needs her to hear it, to know. “I love you, Fireheart. You’re going to have to get used to the idea that I’m never going to let you go if we’re going to be mated for the rest of both of our fae lifespans.”
and she’s laughing and crying, because of course she is, and this arrogant, territorial male is hers for all of that time, and she wants to ask after Aedion and Lysandra and Elide and Dorian and Chaol and Nesryn and the thirteen, but she knows he wouldn’t leave them defenseless for anything, and her mate is here and he knows he’s her mate and gods is she so glad to have the ridiculous buzzard in her life.
He gets her out of the dungeon, out of the palace and she can feel him tense when they get into the sunlight and the iron in her wounds is visible, and he starts to growl but restrains himself when the sound makes her cower the tiniest bit, and he presses his lips to her temple but she can feel the wind delicately removing the tiny metal bits from her back, and her magic slowly, slowly starts to knit the skin back together, cell by cell, and then she’s in a featherbed sleeping finally because she knows there’s no way in hell he will take his eyes off of her for the next century, and a few hours later she opens her eyes because something thumps onto the deck of the ship, and she startles and clenches her fists because they must have found her, but then her door is thrown open and Lysandra is there, running to her with tremendous sobs, and she can smell the cadre in the hallway, and Chaol runs in too, but they’re both thrown out of the way by a volatile Aedion, and she knows something must be wrong because Dorian and Manon and Elide aren’t there, oh gods not Dorian, and she knows well enough that war comes with sacrifices, but it was supposed to be her, not her book loving best friend, and of her a moment they’re all crying together before Lysandra pulls a sealed envelope from her pocket, addressed to her in that regal script, and she bursts out laughing because of course he left her a note, of course he’s going to tell her he chose this, it’s so very Dorian, 
and she spends days like this, crying and laughing and healing and trying not to flinch at every noise and voice, wrapped in Rowan’s arms and catching up on hundreds of hours of sleep deprivation, until one morning he’s shaking her and she groans in opposition, but he pulls her to her feet and helps her to the deck, and her breath catches because she can smell it already–pine and snow and love and happiness and oh gods, they’re finally–
“Home,” Rowan breathes in her ear. “We’re home, Fireheart.”

Okay….. I am tired of seeing one-dimensional characterizations of Belarus and I know that happens with all characters to some extent, but it is particularly bad with her. So here are some cool facts I found about Belarus that make her a more round character:

-she is really into the occult and is a great fortune teller

-she can see ghosts but Latvia says she’s so intimidating even ghosts would avoid her

-she may or may not speak Polish

-she zones out all the time. Her mind will just go blank and she’ll stare at something (like her bow) for hours on end. One time she watched white noise on tv for three hours. Occasionally she’ll have a jolt realization that the day has ended and night came without her noticing

-she is very strong, both physically and of heart and will, though the latter only shines through in negative ways

-she’s “extremely vulgar” in the calmest, most casual tone of voice

-she’s been into rock music lately

-she’s a good acrobat. Her gymnasium is her pride

-America took her in after the Soviet Union collapsed and she thought only bad things came from associating with Russia

-Russia values her opinion and /they can get along peacefully/. Belarus is pretty attached to Ukraine. Ukraine worries about her

-she has an EXTREMELY negative view of humans

-she thinks philosophically about death, specifically her own, a lot. Since she knows she will die eventually, she tries to appreciate the moment

-she loves her traditional clothing

-she is perpetually annoyed by American ghosts, who apparently don’t even bother hiding, like a normal ghost would

-she prank calls Lithuania. And you know that thing where someone calls you and doesn’t say anything, they just breathe into the phone? She does that to Poland

-when she lived with America she completely sapped that guy of all his endless energy; she made him so tired he started trying to get rid of her

We Are Young: Chapter 1

Throne of Glass High School AU

Summary: Senior Rowan Whitethorn is new to town. It doesn’t take him long to get use to a new school, make new friends, even join the local hockey team. But it also doesn’t take him long to meet sophomore and figure skater Aelin Galathynius. And it doesn’t take him long to realize one thing; he can’t stand her.

Previous Chapter | Next Chapter 

——————–

“Coach is going to kill you.”

Aelin had to resist the urge to roll her eyes. She glanced over at Nehemia, but the dark skinned beauty was too busy backing into a parking spot of the school parking lot to pay her any attention.

Uncle Orlon,” The car came to a stop and Aelin sent Nehemia another pointed look - “Isn’t going to kill me for added a little extra sugar in my coffee.” A pause. “Uncle Weylan might though.”

“There are several things wrong with your statement,” Lysandra spoke up from the back of the car. She leant forward to look at herself in the rearview mirror, fixing her hair as she spoke. “One, you got a gingerbread latte and added three extra packets of sugar. I wouldn’t call that ‘a little’. And two,” Lysandra turned, sending Aelin a deadly smile. “Coach Weylan will definitely kill you when he finds out.”

If he finds out.” Aelin smirked, taking a big sip of her over sugared drink.

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Aaliyah .

It’s getting late, now.

The dishes are washed and all the lights in the apartment have been switched off, save for the ones in your bedroom, and the ones in the guest room. Shawn’s guitar is resting on it’s stand in the corner and all the blankets have been folded back up, draped over the couch neatly. And although his instrument has retired for the night, music still lilts through the apartment as Shawn’s humming resonates through the rooms, and you can hear each note from your spot on the guest bed, listening to Aaliyah chat about her school.

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Truly, Madly, Crazy, Deeply

Writer - @damndescendants

Requested - @averagefangurl23 

Hi, I love your work so much so I decided to request an imagine.Could you write a Thomas Doherty imagine where the reader has been getting a lot of hate on social media and the Descendants cast notice she isn’t herself so they all try to cheer her up and Thomas is being all cute and sweet and the cast die over it as the reader and Thomas both like each other but both are scared to admit it. Just a like lot of fluff. If you could do this I would die

Disclaimer - I do not own any of Descendants’ characters and/or ideas all credit goes to the creator and producers of Disney Descendants

Pairing - Thomas Doherty x Reader

Summary – (Y/N) is one of the stars of Disney Descendants who is beginning to get backlash and the cast, including her crush Thomas Doherty, try to cheer her up. 

Warning(s) - people being mean (Play nice!), fluff

Originally posted by froyst

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"No, it's a hicky."

It was Friday night in October to of course that meant another game, an away one this time.
The night before, Neil and Andrew had been making out, Andrew asking a quiet “Yes or no?” before kissing and biting at Neil’s neck upon his consent.
That morning, the Foxes had all noticed it in morning gym but they didn’t have death wishes so none of them mentioned it. The Freshmen tried to but shut up when they got glared at by Allison and Dan.
On the bus, Nicky had made a not-so-vague comment about hickeys and how hard they can be to cover up and how he wishes Erik was there to give him some - he shut up when Erik skype-called though. But of he didn’t shut up for long; instead, he stood and sat down on the edge of the seat next to neil and Andrew.
“Say hi to Erik you two!” he said. As he did, he grabbed Neil’s head and pulled it to the side, showing off the not-concealed mark.
Andrew almost lunged at him and gave him a death glare before returning to his position of being curled up innthe corner of the seat with his head against the window.
“I don’t have a death wish,” Erik said, “so I’m just gonna say ‘nice hair, Neil’.”
Neil smiled.
“Hey Erik,” he said.
“Move up,” Nicky decided. But Neil shook his head.
“Go sit on your own seat.”
“But I wanna sit with you guys,” Nicky whined. “And there’s room if you budge up closer to your boyfriend.”
“I can’t,” Neil said. When Nicky went to protest again, Neil gestured to Andrew, who hadn’t moved. “Andrew can I move closer?” he asked.
“No,” Andrew replied flatly.
Nicky pouted, but before he could say anything, one of the freshmen shouted out “Where are we?”
“I thought we were in Colombia?”
“Of course we’re not in Colombia idiot - that’s the wrong way.”
Frowning, Neil and Nicky looked at each other before looking out the window. After a few seconds, they both paled.
They weren’t in Colombia, but the scene outside was far too familiar for comfort.
Rows of houses with fences and drives passed by them as they drove. The road and houses were all too familiar.
“Coach?” Nicky called, voice shaking and visibly less energetic. A lot of the Foxes turned to look at him. “Why are we going this way?”
“It’s a shirtcut,"Abby replied as they went around a corner.
At Neil’s side, Andrew curled in on himself more. Neil felt sick. Even though he knew it wasn’t the same place, it looked far too similar for comfort.
"What is it?” Dan asked, looking at Nicky. Of course she didn’t look at Andrew - she probably didn’t notice how upset he was getting.
“It just looks like somewhere in Colombia,” Nicky replied quietly.
“It does?” Allison asked, looking out the window. “I thought Colombia was fun?”
“Nicky?” Dan asked, concerned.
Now all the Foxes were looking at him.
“It just looks like the street my parents live in,” the tall man replied quietly, eyes fixed on his younger cousin who was perfectly still and curled up in a tight ball.
“Shit,” Allison deadpanned.
“Oh Nicky,” Abby said, turning around to look at him. Except she knew to look at the three of them - and Aaron and Kevin who were in the seats in front. “I’m sorry, I didn’t even think…” she trailed off. In the drivers seat, Wymack sighed.
“It’s only for another few turns, boys.”
Nicky nodded, solemnly returning to his seat, Erik speaking quiet German to him.
“Hey,” Jack said. “Have any of you guys heard Drake’s new song?”
Matt punched him.
Neil hardly noticed any of that though; all he notices was how stressed andrew was getting the longer they were on this street.
“Coach,” he called, “any chance you can drive any faster?”
Five minutes later, they were on an open and busy street, lined with shops instead.
“'Drew?” Neil asked quietly.
It took a while, but slowly Andrew turned to him.
“Talk,” he said.
And so Neil talked.

..
He talked until they got to the stadium.
In the locker room, he changed his shirt in a separate room, walking out and fixing the rest of his gear with the others.
None mentioned the very obvious mark on his neck.
“Minyard!” Coach called at lineup.
Andrew turned.
“Zero,” Wymack said. Andrew nodded stiffly.

The Foxes won, 7-0.
This time, it was Neil’s turn to go with Dan on press duty.
“Only because Kevin’s voice is sore,” Wymack had sighed. Nicky had volunteered to supervise, and so stood behind Neil and Dan in the press corner.
On his way over, Neil had removed his helmet and neck brace.
The reporters hounded them both, asking the typical questions; how they felt about the win, what they thought of the other team. And then:
“So is that mark on your neck from a nasty bump in practice, Neil?” one of the reporters asked.
Neil frowned, brow creasing in confusion.
“No,” he said. “It’s a hicky.”
Dan grinned. Behind him, he heard Nicky scream delightedly.
“No further questions,” Dan quickly said before she and both boys made their way into the foyer and changing rooms.
“How are the press?” Wymack asked wearily, taking in their expressions; Dan’s grin, Nicky’s ear-to-ear grin and bounce in his step, and Neil’s vaguely confused frown.
“Neil told them flat out the mark on his neck is a hicky not a bruise!” Nicky sang.
Wymack groaned.
Nicky grinned the entire way home. Neil sat with Andrew, who said nothing but was thankfully more relaxed than he had been on the drive down.

When they got back, the pair went off to their room, ignoring Nicky’s kissy noises from the main room.

And if Neil had a few more marks the next day, no one mentioned it.

kai went from prince to emperor without any time in between to grieve. he is eighteen with an entire nation to be in charge of, expected to know exactly what to do. a teenager. the bags under his eyes are getting darker and darker and stars what he wouldn’t do for one full night of sleep. kai tries to laugh with everyone else as they share stories of traveling in the rampion, of their memories as a crew, of their memories on luna, but he cannot relate. he’ll never relate. all of his friends share this tragedy, these memories, but he wasn’t there. he was so desperately alone. a teenager who had no friends his own age, who knew how limited his future was with levana as his wife. he’d be dead before twenty, but could it spare the earth a few years? kai who is so overrun with guilt, heavy with it, knowing all that cinder went through and suffered while his threats were more impending than immediate. when cinder wakes up at night, clutching her stomach in a cold sweat, feeling as though she had been stabbed again, kai will stay up all night making sure she’s able to rest again. even if she’s already fallen asleep again. kai warms cinders cyborg hand between his own in the winter, breathing on it to keep it warm. he holds her cyborg hand in public, on live feeds, anywhere where people can see it. he speaks openly and diplomatically about the rights of cyborgs, and passes numerous anti-discriminatory laws for cyborgs, genetically modified soldiers, lunars, and anyone else that had been poorly treated before. he is so self conscious about his relationships. someone who had been taken advantage of by the media from a very young age, and used for his fame by most of his first friends. but he’s so desperate. desperate for companionship, desperate for relief, desperate to be a teenager. he can’t make any mistakes. he has no forgiveness. he’s supposed to be a politician isn’t he? constantly on? constantly perfect? as good as his father? kai can’t always give as much time to cinder as he wants. does she know how much he loves her? kai comms cinder every day she’s on luna, his heart so full of pride and longing. it scares him how much he loves her sometimes. it scares him knowing what he would do just to have her in his arms again, breathing in the smell of a workshop that takes him back to the day they first met. how could he ever repay her for being the first girl to see him as a human being? as someone worth more than lust and screaming and fanfiction, but worth love and respect and real romance.

anyone wanna talk abt how nina and kuwei absolutely remain close friends to this day and visit each other in ravka regularly because i know in my heart this is true

  • nina gets what it’s like to be on your own in a foreign country trying to accomplish a seemingly-impossible task, and having her check in every so often is a huge help for kuwei settling into his new life there
  • they’re the most multilingual of all their friends and bond over this.  nina doesn’t get many opportunities to practice shu even though she speaks it fluently, and although kuwei speaks passable ravkan, he improves a lot faster from speaking to nina without the added pressure of having to do anything other than talk.
  • both of them religiously pick up bits of gossip and remember all of it and have at least an hour sharing all of it every time they meet (mostly nina.  kuwei likes keeping things to himself so he can use it if he ever has to.  but sometimes he’ll tell her something and nina’s eyes go wide because there’s no way kuwei should know that.)  between the two of them, they know what’s going on with everyone at any given time and have also been known to discuss this in earshot of whoever they’re talking about by switching languages so nobody can prove it
  • when inej comes to visit nina, the three of them go for waffles.  afterwards, inej and nina take turns teaching each other the rowdiest sea shanties they know and kuwei looks on with a mixture of confusion, amusement, and horror, because neither of them can carry a tune and there are some lyrics he wishes he didn’t understand.  (he’s totally memorising them for later, though.)  they’re so happy and enthusiastic about it that after a while it’s hard not to give up and laugh
  • both of them also know what it’s like to lose someone you care about and to have to move on and make a life for yourself regardless.  it’s not something either of them talks about a lot but sometimes, a good number of years in the future, they will.  nina tells him about matthias, about the future they were going to make together and how they were going to change the world.  the work she’s still trying to do on her own.  the promise she made to try and help the younger drüskelle who could become something more, like matthias did.  kuwei doesn’t need to say a lot to that, mostly just listens, but he’s seen how much nina’s accomplished in the years since the ice court job and matthias’ death and all of the good she’s done.  
  • he especially doesn’t have a lot to say about his life before fjerda and ketterdam, not a lot of it is things he wants to remember, but he was close with his father even if their relationship wasn’t perfect and sometimes there’s something to say about that.  about how it might have been better for the world if it was his father who survived shu han, how kuwei could have done something to help them escape if it wouldn’t have exposed him as a grisha to the fjerdans.  i could have brought matthias back, nina says quietly.  i almost did.  sometimes letting go is better.  
  • the potential with these two is honestly so underrated and i feel like we as people need to talk about it more

bonus:

  • nina: wake up, i have a huuuuge dilemma i need your opinion on!  
  • kuwei: what?  
  • nina: am i more beautiful today than i was yesterday?  i mean at first i looked in the mirror and i thought well, yes, definitely, huge improvement–  
  • kuwei: can i have my pillow back?  
  • nina: –but then i thought maybe it’s not that i’m more beautiful today, maybe i was just as beautiful yesterday but i lacked the self-esteem to recognise it!  
  • kuwei: don’t take this personally but get out

princessofthepai  asked:

Hi! I have a few questions haha so I ll put them separately! 1. When you have characters that more quiet/reserved, but they aren't shy, how would you portray this? How would you portray a confident person who speaks little? How would they instead show their anger/resentments/amusement/love? Alternatively, how would this change if a character was quiet and not very comfortable in themselves?

2. What are good ways to hint at past abuse (physical/sexual/mental) without explicitly saying it? How would you imply that a particular person was responsible? How would show the way it has affected the individual/s? 3. How would you reveal/lead up to your character/s secrets? With the big secrets, how could you effectively foreshadow it without giving it away until you want to, but it still makes sense? Sorry this is super long! But thank you for your help!

Thank you for your questions!! I promise it wasn’t too long, this ask was a lot of fun to answer, and you posed some really great questions. I hope this helps!!


BIG POST OF CHARACTERIZATION

Quiet Characters - Shyness vs. Introversion

  • Something to note about introversion and its portrayal: it depends on whether or not you’re writing a viewpoint character. A lot of times, other characters will VIEW them as shy, until there’s a defining moment where everyone realizes they’re not shy, they just keep to themselves. Perhaps they provide commentary on things every so often, not afraid to show their opinion when it counts. However, this isn’t always the case. There are other instances where a character is quiet/speaks very little, but is also clearly not shy
    • A confident person who speaks little strikes me as the kind of person who only speaks when they feel they have something important to say/contribute. Which means that everything they do say holds greater weight than someone who talks constantly. There is a certain bluntness to this - therefore they are not insecure, or nervous about what they’re saying, they’re just a person of few words - they choose their words carefully. 
    • Ex. Luna Lovegood of Harry Potter
      • It’s made rather explicit that Luna is not shy. She is not ashamed of who she is, even though we know she’s often made fun of by other students. She speaks rather little - when she is featured with the other characters, I would say that Luna is more often than not a listener. However, Luna does not hesitate to provide her opinion/knowledge when she deems it necessary. Example, in The Deathly Hallows (focusing on the films, so Part 2), she is not at all shy or skittish about telling Harry what information she knows to help him defeat Voldemort, even though Harry is distracted and at first unwilling to listen. 

Originally posted by aurrorpotter

    • Ex. Aizawa Shouta (aka him who i love) of My Hero Academia
      • Aizawa is a classic example of being a “man of few words.” He is not a talkative person in the slightest, and he can seem even gloomy in comparison to more animated people. But one of the best examples of his confidence comes through when he’s shown speaking to other Pro Heroes about the problems they’re beginning to face. He does not hesitate to give his opinion, is not shy about it, and when he does state his stance, he stands firm, caring very little what anybody else might think. So while he clearly keeps to himself, he still makes his opinions known when necessary, making it clear that he’s not keeping to himself out of insecurity. He just prefers it that way.

Originally posted by mashirao

    • Zero from Holes
      • I didn’t need this many examples, but I love Holes, it’s fine. So, Zero…is not shy. Did he or did he not punch somebody in the crotch? Ya’ll. He is teased relentlessly by the other boys in the camp - and he responds with pure silence. We may interpret this to be shyness early on, but as the story progresses it is clear that he’s not shy. He just doesn’t have time to mess around with people who want to call him names anyway. He’s got bigger fish to fry. So he ignores them. He is quiet not because he’s afraid to talk - but because he doesn’t want to. 

Originally posted by andy-sambergs

    • What to take from all of this? If you have a character who is quiet, but confident as well, then have them make their opinions known when they feel it is necessary. They won’t be talkative, but they also won’t shy away when they feel that something important needs to be said. 
  • Shyness in Characters
    • First off, I want to direct you to a great post that we have here that talks about insecurity in characters and how that can be portrayed, which I feel would be relevant. But, I do want to add on to what that post says here. 
    • A shy character is totally different from the confident-but-quiet characters discussed above. Shyness is sprung from insecurity, the fear of saying something wrong, or being judged, etc. A shy character is going to actively avoid conversations with new people, and with people who make them uncomfortable. And when forced into said situations, they will not speak as openly as they do with friends, and will often come off as awkward or stilted, speaking very little, and often not about themselves.
    • Ex. Gus from Recess. Out of the five heroes of this story, Gus was probably the least down with social interaction (even though Spinelli was always ready to throw down with somebody). Whenever things get tough on the playground, he always lets his more bold friends take the reins to steer the situation, preferring to stay in the background. 

Originally posted by bucolique-blog-blog

Characters as Victims of Abuse

  • First off, I think it would depend on the type of abuse. Sometimes when people have such a traumatic experience, they don’t deal with/process the subsequent emotions, thus when they experience something later on that reminds them of the abuse, they can be triggered back into the emotions of the time.
    • Was this physical abuse? Perhaps they have both a physical and emotional reaction if someone attempts to come at them/hit them/etc, even if it’s supposedly a playful situation.  
    • Emotional abuse? Someone talking down to them, name calling, being controlling etc. would probably provoke some strong emotional backlash. But also, it’s highly likely that victims of emotional abuse may retain a sense of low self-esteem/self-worth. They may talk down to themselves a lot, whether out loud or just in their internal monologue. Also, in some cases, it is possible that those who are victims of abuse can later become abusers, often as a way of trying to regain the power that was lost during the time of abuse. 
    • HOWEVER, when dealing with all of this, it is very important that you research in depth the true effects of these experiences, even going so far as to try to talk to people who have experienced this personally. It is often a delicate subject, and should be handled with care and respect. 
  • Now, implying that a certain person was responsible would depend on that character’s current role in the story. If they aren’t present in the current storyline, perhaps you can hint to a person from their past that they either refuse to talk about, or only speak of very negatively. Or maybe, they still harbor feelings for this person - it is possible to still care for your abuser, whether this is healthy or not. It is even further possible that the experience was traumatic enough for them to block out those more awful moments, or even attempted to explain this abuse away to themselves as their abusers way of showing love, thus they still hold affection for them, even if they are not a part of their life anymore. 
    • If the abuser character is still in the picture, you would have a lot on your hands. Do the characters interact at all? This is dependent upon how your character feels about their abuser at this time, and what happened. Are they able to be in the same room with them without breaking down, or lashing out? Are they able to defend themselves from this person now, or are they still vulnerable to their abuse? Or do they refuse to associate with this person at all? Is this a revenge story - are they seeking revenge on their abuser? What do they want from their abuser? To be left alone, or to find some sort of closure? 
    • So I’m going to handle this in two ways. The abuser being a present character in the narrative, and the abuser existing primarily as a figure in your characters’ past. 
      • If your character still interacts with the abuser in the narrative, they should act in such a way that would hint at this past relationship. There will most likely be a sense of tension, but a lot of it is very dependent upon the individual personalities of your characters. 
      • If the abuser exists as a distant figure in your character’s past, and you’re trying to keep it a secret, then your character would most likely avoid talking about this person, would skimp on the details about them in conversation. And the way they talk about them will probably have some tension to it, as well as leftover emotions, whether that be anger, sadness, etc.

Secrets, Scandals, and Hidden Things

  • Character’s secrets, alright, this is FUN. This is gonna be fun. So, when you’re dealing with characters secrets, there’s a lot of playing around with foreshadowing. The big thing about having secrets and revealing secrets is that you have to balance the information and the clues to the reader, so that when the big secret is revealed, the reader feels like they should have known the answer all along. You have to lay enough clues for it to make sense, but also direct attention away from what the real clues are to keep the tension and the secrecy, so that your big reveal is a Big Reveal. Thus, the power of misdirection. Capisce?
  • I’m gonna use the example of Wreck it Ralph and hope that nobody gets mad at me. [But I think it’s been enough time since the movie came out that anybody who would get genuinely pissed about Wreck it Ralph spoilers would have already seen the movie]. 
    • Alright - so the big ordeal in Wreck It Ralph, the big Oh Shit moment is that King Candy is actually Turbo. I’m gonna go through Wreck it Ralph, highlighting the more important scenes that lead up with this, to deconstruct the foreshadowing, and show you why it works. But here’s the big thing I want you to take away from this - secrets are all about the buildup.
    • “Goin’ Turbo”
      • So, in the Wreck It Ralph verse, it is made clear to the audience early on that a colloquial term commonly used to describe a game character trying to join another game is “going Turbo,” yes? Because it’s used so naturally, and it fits the atmosphere of the show, the arcade slang sort of feel, the audience is able to accept it without too much question, except maybe to wonder where the phrase originated. The phrase is explicitly used when Ralph himself goes off to find a metal, and the figures of his own game start freaking out because Ralph was “going Turbo.” This is the first big clue that is repeatedly laid for the audience. 
    • The Introduction of King Candy
      • It is clear to us very early on that King Candy is, well…very particular about how things run in his game. And well, we kind of expect this - he is the King, after all. But his storyline and motivations are clearly tied to the heroine Vanellope’s as well, which is made clear very soon after we’re introduced to him. He refers to her as “The Glitch,” rather than calling her by name, and is adamant that she should not be allowed to race in the game. Now at this point, it is clear to the viewer that Vanellope is one of the characters we are supposed to be rooting for, and the fact that King Candy is clearly opposed to her achieving her goals as a main protagonist, he is now an antagonist - no surprise.

Originally posted by the-light-of-animation

    • The Turbo Story
      • It isn’t until after we meet King Candy that we hear the origin of the phrase “Going Turbo” and what it means. Essentially, the phrase originated when the protagonist of a racing game that was at one time very popular got pushed to the side in favor of a new, high-tech game. Not to be defeated, Turbo abandoned his game and tried to take over the new one, thus coining the phrase. We as the audience are told that in consequence, both Turbo’s original game and the game he tried to take over got put out of commission, including himself. HERE IS THE KICKER: we as the audience are given a considerable amount of information necessary to put together that Turbo just might equal King Candy, BUT we are led to believe that this isn’t a possibility because Turbo “got himself put out of order for good.” 
    • King Candy and his Dark Side
      • Now, this is a big scene in terms of King Candy’s storyline/backstory/relationship to Vanellope: the scene in which he ventures “into the code,” and adds the gold medal to his own personal cache of codes, so that he can take ownership of it. It’s a subtle play, because we as the audience are shown that King Candy’s code “box” (if you will) is at the biggest, and is at the center of everything. Because he’s the king, right? And at the end of the scene, we have a wide shot of the scene to reveal Vanellope’s code box, and it’s floating off the side, not connected to any of the boxes. Because she’s not supposed to be in the game, right? Because she’s a glitch, right? Huh. 
      • The second half of this section deals with the scene in which King Candy goes to Ralph personally, and pleads with him to convince Vanellope not to race. He tells Ralph that if she does race, and if she wins, then she’ll be accessible by the actual human players of the game. In such case, if they see her “glitching”, they’ll thing the game is broken, and get it put out of order. Right? Once again, we have misdirection. I’m sure at this point, the audience doesn’t fully trust what King Candy is saying, but at the same time there is an emotional reaction to his words. Because we care about Vanellope and want her to succeed, it forces the audience to feel that emotional push-and-pull, distracting further from the fact that King Candy (spoiler alert) lied clean to everyone’s faces. 
    • THE REVEAL
      • In a moment of high intensity, when we’ve reached the big climactic moment that is The Race, which is what Vanellope has been trying to get to for the entire film, it is revealed that King Candy is Turbo, done so because he gets caught up in Vanellope’s glitching, causing him to revert back to his originally coded form. We then learn of his true motivation - he wants to remain the top racer, as he was in his previous game, and he wants to maintain the power and thrill of that popularity. So he usurped Vanellope and changed the code so that everyone believed that she wasn’t supposed to exist, and that he was the rightful ruler of the game.

Originally posted by mushroom-trafficking

    • Why does it work?
      • It works because of the build up. All of the hints were laid out; Turbo’s backstory was set up early enough that it felt natural for the audience, and it gave us enough time to get comfortable with the information; when the scene did finally unfold, it felt so obvious that you could look back and see all the pieces click. And in the reveal, all of King Candy’s previously creepy behavior makes sense. There is emotional payoff.
  • What to take from this? 
    • One of the most powerful ways to hide your hints and foreshadowing throughout your story is misdirection. Lay those hints, plant the seeds, but also do the work to direct the audience’s attention elsewhere, leading them to believe one thing, whilst building towards another. 


Phew!! That was a doozy of a post, but it was a lot of fun to write, and I hope this was super helpful to you!!

If you have any further questions, don’t hesitate to shoot us an ask. In the meantime, happy writing!

- Mod Daenerys


If you need advice on general writing or fanfiction, you should maybe ask us!

My headcanon of how the reylo cliff scene will play out.

Ahch-to, sixth months after the destruction of Starkiller base…

“You’ve been busy,” Rey shouts over the violent sea wind that swirls in the space between them. “Did you find what you’ve been looking for?”

“You know I have, Scavenger.” Kylo Ren ignites his lightsaber at his side and its unstable crackle seems to drown everything out. Rey doesn’t reach for her own lightsaber, which is still secured to her belt. She stands her ground, waiting for him to come at her. She appraises the jagged scar that bisects his face, feeling a quick burst of pride at finally seeing her handiwork.

“I’m here for your master,” even though he speaks quietly, his words swirl through her head across the distance between them.

“I have no master.” Rey juts her chin out defiantly, knowing he won’t expect this.

He arches a single eyebrow, his head almost imperceptibly twitches towards the temple at the top of the island as his hair whips around his face from a massive gust of wind. He knows they can both feel Luke’s force signature up there, tucked away. Hiding like the coward he is.

“How did you find us?” She shouts at him, fists clenched at her side, itching for a fight and waiting for him to make the first move.

‘You know how.’ His lips don’t move but his words fill her head nonetheless. Her jaw clenches tightly, teeth grinding together at the invasion of her mind. At this close proximity, it is impossible to keep him out. Just as it is impossible for him to keep her out of his own mind.

‘You call out for me every night. It is all I can hear, all I can feel. You consume my entire being, your longing drives me to the brink of insanity.’ His thoughts are again forcibly pushed into her mind. The invasion of his words is excruciatingly warm and soft as his presence ripples along the edge of her mind.

“Enough!” She yells, hand finally going to her lightsaber. She draws it and lights it in one swift arcing motion, the cool blue glow pooling around her. ‘You know it isn’t me that’s calling for you.’ She adds as an afterthought, almost not meaning to send the thought to him. Only when his expression darkens does she realize he heard it too.

“So you think it is our bond alone that calls to me?” He is talking out loud now, approaching her at a steady pace. His upsilon class shuttle left empty behind him, awaiting the return of its pilot. “You think it’s the bond that whispers my name feverishly in its sleep?” His lightsaber is still dangling in a lazy grip at his side.

They are closer now, only a few aching meters between them. Rey stands her ground, gripping her lightsaber in a fighting stance despite the fact that he has yet to raise his.

“The bond that is practically singing now that we are finally together again?” He almost sounds hopeful. The hard affection in his voice makes her stomach turn over. She thinks of Han tumbling from the walkway on Starkiller. She thinks of the last time she saw Finn, unconscious and kept alive by machines. She thinks of Poe slumped in a chair at Finn’s bedside, whimpering in his sleep, nightmares of having his mind torn to shreds keeping him from getting any rest.

“The bond that is just another in a long list of atrocities committed by you,” she hisses at him, palms sweating against the warm metal of her lightsaber. She adjusts her grip.

“Oh, my dear Scavenger,” his lips peel back from his teeth in a grim smile, he shakes his head as if he regrets it, “you are so, so mistaken. This bond is your doing.” He sounds so confident and sure that it causes her to hesitate. He feels the doubt sinking into her and latches on to it. “You’ve known all along, you just don’t want to admit it to yourself. You pushed back into my mind.” He reaches up with his free hand and taps his left temple. “You created this connection with your clumsy and amateur fumbling into my head.”

“Liar!” She regrets the word as soon as she shouts it at him, he can see her weakness now. Her anger.

Her accusation seems to encourage him even more, his grim smile transforming into a more genuine one, which is the scariest she has ever seen him look. He looks as if he is a predator sensing an opening, ready to pounce on its prey.

“This is why you need me to teach you, you are too powerful for your own good.”

“I have a teacher,” she responds sharply, trying to school the tone of her voice into something calmer and more even.

He raises an eyebrow at this.

“A teacher,” she clarifies, “not a master.” Luke’s words to her when she had first arrived on Ahch-to float through her mind and she knows that Kylo can hear it as well. ‘It’s time for the Jedi to end.’

“Whatever you call him,” Kylo shakes his head as if to forcibly remove the voice from his mind, “I am here to destroy him.”

“You will have to go through me,” she straightens her back, preparing for him to come at her with that red abomination of a blade. He narrows his eyes. He can’t understand why Luke isn’t here, why would he send his student out to face Kylo alone? Surely he knows that there is no way she could best him in a fight when he is at his full strength as he is now.

“No, I need you alive,” he responds in a tightly controlled voice, still not making a move with his ignited lightsaber. The saber spits and hisses like it is dying for its chance to maim and destroy.

“You need me alive or your master does?” Rey knows it probably isn’t wise to taunt him.

“I do. I need you alive,” Kylo brings his fist up to slam against his own chest, she isn’t sure if she is indicating himself or his heart when he hits his left side. “Snoke wants you dead.” The treason falls from his lips and he is quaking with the release of it. The traitorous thoughts that have been broiling inside of him all this time are finally voiced.

“Then why not kill me?” She is whispering, she knows he can hear her perfectly fine even though the wind eats up her words as they spill out of her mouth.

‘You know why.’ His expression softens.

White-hot anger burns through her, at first she thinks it is coming from his end of the bond, but then she realizes it is from within her. An untapped well of anger is overflowing and tearing through her entire body, threatening to engulf her. Anger at him. Anger at herself.

She makes the first move, charging towards him with her saber in a two handed grip. He barely has time to wipe the startled look from his face and bring his own saber up into a defensive position. Their blades crackle viciously as they come together and she pulls back again to hack at him. She has practiced lightsaber forms tirelessly since Starkiller, she can be graceful and precise. Right now, she is a violent and angry creature trying with single-minded determination to cut him down. In the back of his mind he acknowledges this is the most beautiful she has ever looked to him.

It is all he can do to block her attacks without going on the offensive. She is backing him towards a cliff that drops off into the tumultuous sea below. He thinks about reaching into her mind and stealing her consciousness as he has done before, but he can’t muster the concentration necessary as she rains strike after strike down on him at a relentless pace.

His heels scrabble against the edge of the cliff and he dodges her last blow, sidestepping her and hoping she catches herself before she tumbles over the edge. She doesn’t. He reaches out with the force to try and stop her fall but it is too late, she has already disappeared over the edge.

He leans over the cliff, stomach twisted into a knot. He knows she didn’t die on impact because he can feel her life force still connected to his. A dark figure is sinking beneath the waves below.

Without another thought, he drops his disengaged lightsaber in the grass and dives after her.

The water is ice cold and the current is unforgiving as he tries to locate her. He unclasps his cloak and kicks it away, the heavy fabric is dragging him down and only helping the water as it tugs him in every direction other than towards Rey. He sucks in one last breath and dives.

The silence beneath the waves is terrifying. He has grown so used to catching glimpses of Rey’s random thoughts and emotions since they forged their bond that the lack of her incessant inner monologue is deafening. He finally catches sight of her, she is slowly drifting downwards. His grandfather’s lightsaber is sinking like a rock beneath her almost as if it sacrificed the heavy weight it bore to allow her to hang suspended in the murky water.

Her hair has been jostled loose from the tight buns and is fanned around her. He calls out to her mind, not with words but instead with a sense of urgency and panic. There is no answering feeling from her end of their connection.

He kicks towards her and wraps an arm around her waist. Her body is limp and arches backwards as he drags her to the surface. His pulse is pounding in his ears so loudly that it feels like it is the heartbeat of the ocean itself.

When they finally breach the surface he smooths her tangled hair back and pats her face with his sopping leather gloved hand. He pulls her head up, cupping her cheek.

“Scavenger,” he murmurs, “Rey, wake up.” He lets his forehead fall onto hers, trying to delve into her mind. It is silent, so terrifyingly silent. He can’t take it. Even when she sleeps he can hear her, or at least get an impression of her feelings. The nothingness is all consuming and far too cold.

The waves are still swirling around them and tossing them like a wayward piece of flotsam but Kylo clings to her as if she is the one keeping them afloat.

After too many painful moments, she splutters and the violent coughing fit is the best sound he has ever heard. He grips her waist tighter and slides her up his chest, making sure she is above the water and can gulp down the precious air she has been lacking. Her legs instinctively wrap around his waist and her grip is like iron on his shoulders.

“I’ve got you,” he soothes a hand down her lower back and she is still gasping desperately, a dead weight in his arms. Of course she wouldn’t know how to swim. It’s only by the grace of the force lending him strength that he is able to tread water for so long and hard enough to keep them both alive.

She looks down at him, startled, realizing finally where she is. She yanks back from him and he tightens his grip on her, not willing to let her fall back beneath the water. Not willing to admit how complete he feels holding her after so much time spent skimming along her mind, capturing the pathetic scraps of thought and emotion she would drop for him.

“I’ve got you,” he repeats in the same soothing voice, but this time it isn’t a reassurance for her and is instead a declaration of victory. She finally sags into his arms, the tension leaving her body, trusting him to keep them afloat. She buries her face into his drenched hair.

“I know,” she whispers.