excellence in sets

m00d 2

(this is dedicated to @majorteas )

Harry works in the cubicle across from you at work:

- you two spend your shift rolling eyes at each other over the mundane office drama (he’s got the Jim face impression from the Office down pat)

Originally posted by imabeast78

- he always makes 2 cups of coffee when he gets up for the break room, and leaves one on your desk without even asking  

- khakis are gross but he makes khakis look stunning, with a button-up shirt and a tie, and square black-rimmed glasses; his hair is sometimes over-gelled but when he sleeps in too late, it’s floofy and poofy and he’s constantly running his fingers through it during the day

- you have a presentation in a few days you’re mad nervous about, Harry is leaning over your shoulder and he is so close you can smell his aftersahve, and he’s squinting through his glasses as he peers at your Excel spreadsheet, setting up your pivot chart with loads of formulas he’s got memorized

-one of the accountants has her eye on Harry, because who doesn’t, and she stays for longer and longer periods at his cubicle, trying to get him to go out for drinks after their shift

     -he keeps refusing though, because he may not have the guts to ask you out right now but he does know enough that your sudden concentration on your work when she’s nearby means something - he just doesn’t know what

-when you have to stay late, he stays with you and lounges in random chairs around the office, doing impressions of your co-workers and making you giggle in-between calculations

- there are no designated parking spaces, but there are and his is next to yours, always

- you’re doing your job, just doing normal shit, and Harry’s leaning back from the cubicle across from yours, tossing a rubber band ball and frowning slightly at how you’re ignoring his multitude of chain emails he’s spamming you with

     -and then you open up the fifth cat video of the day, and start giggling a bit, and he’s immediately smiling

5

behold,,, the jed jobe

100 Art Objects, Historical Artifacts, and Miscellaneous Loot
  1. A marble bust of a large-nosed woman
  2. A richly woven carpet with nautical patterns
  3. Soft, clean bedsheets sewn with golden thread
  4. A portrait of a bashful looking tiefling
  5. Eight matching silver cups
  6. A ceremonial helm with a daisy motif
  7. A coil of silken cable, intricately braided and tasseled
  8. An ancient fertility sculpture
  9. A nautilus shell
  10. A stack of fine vellum
  11. Richly embroidered blue sleeping robes
  12. A huge tortoise shell
  13. A polished silver looking-glass
  14. A set of gem-encrusted cutlery
  15. Silk handkerchiefs
  16. A necklace thickly adorned with bright feathers
  17. A small dragon skull
  18. A collection of beautiful glass bottles of all colours
  19. A snake skin of tremendous length and quality
  20. Well preserved tapestries depicting an important historical event
  21. A set of fine jewelcrafting tools
  22. A chess set of excellent quality
  23. A set of non-magical but intricately etched daggers
  24. An ermine coat
  25. Soft doeskin boots beautifully crafted for small feet
  26. A collection of flags and banners once flown by nations now extinct
  27. White silk gloves
  28. A satchel made of glossy crimson leather
  29. A rattle made from a cloven hoof
  30. Paper pouches full of dried herbs and spices
  31. A red and silver scepter
  32. A porcelain doll garbed in a beautiful ballgown
  33. A large bismuth crystal
  34. A box containing several elaborately decorated animal masks
  35. A glass orb containing a tablespoon of quicksilver
  36. A vase containing numerous exotic feathers
  37. A golden ceremonial shield featuring an unfamiliar charge
  38. Ten large glass marbles of various colours
  39. A richly illuminated, leather-bound manuscript of local history
  40. A rare coin collection
  41. A massive scarlet crustacean claw
  42. Pots of powdered henna, turmeric, and indigo
  43. A long spiral antelope horn, polished and banded in silver
  44. Two oblong pearls of modest size
  45. An exquisitely preserved fish fossil
  46. A set of lavish quills and two pots of deep blue ink
  47. Three canopic jars, and the broken lid of a fourth
  48. A hand-carved, gold leaf frame, sans painting
  49. A masterful portrait of a stern couple, sans frame
  50. Beautiful horse tack
  51. A glass jar filled with layers of sand of various colours
  52. A snow leopard skin in fine condition
  53. A huge vanilla scented candle
  54. A wooden case containing two dozen bars of sealing wax
  55. A hand-carved mash paddle made from black wood
  56. A silver locket containing a lock of silver hair
  57. A crystal bottle of perfume
  58. A carving made from jet featuring the head of a gorgon
  59. Twelve fine drinking glasses wrapped in cotton
  60. A brass cast of a skull
  61. An ancient ceremonial sword of a powerful queen, its blade half rotted away
  62. A silver flask
  63. A wooden frame containing a complex gear mechanism of unknown purpose
  64. Pouches of very rare seeds that grow into valuable plants
  65. A geode
  66. A tome of forgotten ballads written by a legendary bard
  67. A terribly gaudy cuckoo clock elaborately inlaid with silver and gold
  68. A half-finished bolt of patterned cloth, still attached to the loom
  69. A large tangle of coral
  70. A church bell featuring a religious tale in bas relief
  71. Gold candleabras
  72. A brass statuette of a religious figure
  73. Two oak barrels of alcoholic spirits
  74. A sack of bathing salts
  75. A box of lace
  76. A folder stuffed with dwarven beer recipes
  77. Spools of excellent leather cord
  78. Medicated creams and ointments
  79. A box of colourful makeup
  80. A pouch full of glimmering pearlescent fish scales
  81. A silver dog whistle shaped like a howling wolf
  82. Ivory spice shakers
  83. A jar of herbal honey
  84. A large incisor on a leather thong
  85. Powdered animal parts
  86. Gold false teeth
  87. A bulk lot of mundane smithed items, including locks, hinges, etc.
  88. An empty silver lockbox with key
  89. Elegant red skates
  90. Blue suede shoes
  91. A dried caul
  92. A taxedermied platypus
  93. A censer
  94. Three wax likenesses, one slightly melted
  95. A telescope
  96. A set of tinkling hand bells
  97. Coffee beans
  98. Tortoiseshell combs
  99. Copper bottom cook pots
  100. A flanged steel plug of some kind

anonymous asked:

How would i write about the life of a noble family in 1870's london? Like what are the names of clothing and what food they ate what names of shoes were and etc

Hiya! Whatever it is you’re writing, you’ve chosen an excellent time period to set it in. Here are some things I’ve managed to pick up:

Clothing

Here is a site of Victorian era fashion sorted into decades

Here is another site of women’s dresses in 1870

Here is, you guessed it, a site of mens’ clothing between 1870-1890

Food

This is an excellent source of new food, techniques, and cooking inventions for the era

More types of food eaten in the Victorian period and when

These are some of the foods and habits of 1870s mealtimes

Other

Here is a site explaining how the Victorian aristocracy worked and lived


I hope these helped. Good luck with your story!

- Mod Jazz


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

i’m for my girls into cat sweaters and flower crowns and i’m for my girls who do drugs and want stick and poke tattoos and i’m for my girls who excel in academic settings and i’m for my girls who want to quit school and travel and i’m for my girls who want to date and i’m for my girls who want to have wild sex lives and i’m for my girls who want to wait till marriage or not have sex at all and i’m here for every single girl in between and every single girl who is none of these things or all of these things. i’m just here for my girls bruh

anonymous asked:

Based on my reading, fight scenes tend to be best written with shorter sentences and use sluglines to help avoid it from becoming a wall of text. The writer should add details of what happens, but focus more on giving the desired feel of the scene than an list of every strike.

Sure, that’s one way to go about it but I’d hazard though that it is possible to have a fascinating fight sequence which is a wall of text. (And, actually, I’m sure there are in The Lord of the Rings and probably War and Peace or the more downright confusing translations of Father’s and Son’s, I’m just too lazy to go digging.) A scene is defined by how successfully it manages to keep the reader’s attention so they remain invested in the action occurring on the page.

The issue with writing advice of any kind is that any ground rules laid down will be broken in fairly short order by a hundred other books. The other problem is that the vast of advice majority depends on the styles of the times rather than the writing itself. A fight scene can be anywhere from a single sentence to five or even ten pages long, or longer. There’s no clear metrics for creativity.

The only rule is there aren’t any rules. Not even when it comes to grammar. The only metric for success is based on what you can get away with, and how well you hold the attention of your audience. Many of the best writers we remember were people with enough confidence to look at the rulebook and throw it out the window. Writing is mostly trial and error, and figuring out what works best for us as individual creatives. The best thing to do is throw out the shoulds and learn to trust yourself. Take the Barbossa line from Pirates of the Caribbean to heart, “the Code is more what you call guidelines than actual rules.”

The great secret of every creative you admire is that we’re all mostly making it up as we go along. The only quality you truly need is the willingness and courage to leap off the platform without looking back, and see if maybe you’ll fly. 99% of writing is learning how to nor give a crap about what other people think. Or, what we think other people think. The voices that whisper we’ll never do it right and that we’re not good enough.

Don’t listen to the voices. Go with your gut.

Besides, talking sentence is almost pointless because everyone’s writing style is different and their narrative structure is also different. The best fight scenes are like dessert or a topping, they serve as a means to enhance your narrative and build it up rather act as a full course meal. Each scene and sequence are a dish to go with that meal or just an ingredient. Sometimes, they might be able to function as meals unto themselves but are excellent when consumed together.

The best fight sequences are the ones which maintain the audience’s suspension of disbelief. They can go about doing that in a number of ways, from utilizing the five senses to the author making excellent use of their set pieces, but usually come together when the author has a solid grasp of what they want from the scene and understand how to go about getting it.

The how is usually what trips people up, how to translate what we’ve envisioned in our minds to the page. The more you understand about a subject, any subject then the better you’ll be at figuring out how to get what you want. This may involve some reevaluation of what, specifically, you wanted to begin with in order to start asking the right questions.

The more you understand about warfare, and how warfare has grown, changed, and transitioned throughout history then the better you’ll be at writing magical, fantasy battles.

If you want to write Rurouni Kenshin anime fight scenes, starting with research into Kendo, Iaido, Budo, and that specific historical period in Japanese history will ultimately help you parse through where inspiration was drawn.

Sometimes, we need to ask the wrong questions before getting to the right answers. You want to write in a similar vein to what you’ve drawn inspiration from then start with understanding how it works.

It may suck when looking for a quick and easy answer, but the truth is that good work isn’t easy. It’s difficult. It takes a lot of investment, both mental and emotional. And there will never be anyone who can get to the bottom of what you want better than you can, because you know what you’re looking for. You just need to figure out how to get there. Investigation, essentially, is key to writing good fight scenes.

When you understand basic concepts like distance and the order of operation in a fight, moving between different zones until we end up on the ground, then the fight sequences won’t feel like just a static listing of techniques. Instead, they become interesting due to the fight actually moving. (The issue with many fight scenes is lack of progression.)

The second issue is choreography. When writing fight scenes, the writer’s closest relation is a film’s stunt choreographer. That’s a different set of priorities beyond just “realistic or no?” because a novel, like a movie has its own setting rules that it abides by outside the realm of the real world. The key issue for many writers is they either don’t know enough about martial arts or have a ready grasp of various techniques to choreograph a fight. Then get down on themselves, forgetting that fight choreography is a craft in and of itself. The best scenes we see in movies are often choreographed by seasoned, if not master, martial artists. 9/10 when you’ve got someone asking for a fight scene, they’re asking for choreography. They want to know how to structure a fight so it’s interesting to read/watch.

A fight scene that utilizes it’s environment, laying down the groundwork and foreshadowing objects like staircases as the fight progresses will create a sense of catharsis for the audience when a character finally throws another down those stairs. Or grabs a frying pan off the counter. Or starts throwing plates. Or is out numbered against a group of bullies, and maneuvers their way around the hallway to pull the fire alarm. (They see the fire alarm before they get jumped, or when they’re trying to figure out what to do, then try to get to it.)

Fight scenes work when we understand a character’s needs, desires, and wants rather than focusing on a need to “show, don’t tell” their fighting ability by making them fight.

Poor fight scenes aren’t just badly written, they serve no purpose other than “proving a character’s fighting ability to the audience” and often feel out of place in the narrative. They are a violation of the character’s stated goals and needs, and often work under a different setting rule set which has no interaction with the main story itself. Poor fight scenes are boring, the illusion breaks and the characters are just paper dolls being mashed together.

After that, the sentence structure is just structure.

In fiction writing, we use sentence structure, grammar, word choice, and even white space on the page as a means of crafting tension and tempo. Tempo in fiction is manipulating the speed at which someone reads. An easy solution is to use progressively shorter sentences to build a sense of tension and imitate the feel that events are actually moving faster. Long sentences feel slower because they take longer to read. That’s the basics, anyway, it becomes a great deal more complicated than that once we get into the inner workings of a single sentence. There’s also beat, rhythm, and rhyme schemes.

If you want to learn how to manipulate emotional experiences in very few words then poetry is what you should be reading.

Basically, all these require various skills. There’s no easy way to develop these skills beyond hard work, practice, and trial and error.

The first step is: get over the fear of failing.

You’ll try, you may fail, it may not work the way you want on the first go. You’ll probably have to go back to the drawing board multiple times, and that’s okay. You’re not alone if you sit at your computer watching a single fight sequence you love on repeat a few hundred times trying to figure out how it works. That’s normal.

It takes work to gain knowledge and then figure out how to apply it contextually. You’ve got to learn about the subject then learn how to make that knowledge work for you. The process is often embarrassing, sometimes clumsy, and we may feel like we suck because we’re unfairly comparing ourselves to experts in the field. A writer is a perpetual student seeking out new knowledge and new information. Whatever we’re digging into will always be more complicated than we initially thought.

TLDR: It’s difficult to write fight scene involving guns if you don’t know how guns or bullets work. That follows for everything else.

-Michi

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Welcome to the next post in my university advice series! I’m gonna give you some tips on choosing your college major, cause I have truly been through it:

  • Think about how/what you did in high school before you choose your major. By this I mean what classes did you do well in? Which ones did you actually enjoy? What clubs did you participate in? If you’re planning on being a math major but the only C’s on your entire transcript are in math classes, that’s not a good idea (@myself). If you enjoyed your government classes and debate club, consider something like poli sci. Going to college doesn’t mean you’re an entirely different person; you’re going to enjoy the same things and be bad at the same things. Take this into consideration when choosing your major.
  • Don’t be afraid to go in undecided. So many of my classmates in high school didn’t know what they wanted to do before going to school. Then I got to uni and no one knew what they wanted to do there either. Going in undecided is honestly way better than declaring a major, doing it for a year, deciding you hate it, and then having a year’s worth of useless credits (again, @myself). Go in, take some general requirements, take a couple electives in things you find interesting, and you’ll eventually figure out what you want to major in. Don’t stress about it too much. I promise there will be hundreds of other students who are undecided, too.
  • DON’T CHOOSE YOUR MAJOR BASED ON WHAT YOU THINK WILL MAKE MONEY OR WHAT YOUR PARENTS WANT YOU TO DO. Everyone says this, and I heard it a million times before I went to school, yet I still ignored this advice. Story time: at the beginning of high school, I was planning on going to a school where I could major in songwriting. My parents made it clear that that wasn’t going to be a lucrative choice at all, and various people planted the idea in my head that I should do something in engineering, especially since women of color are so underrepresented in that field. I took AP comp sci in senior year and decided I would just do that. If I couldn’t do what I truly wanted, I didn’t really care what I did instead, I thought I might as well do what makes money. Computer science is basically a few classes short of a math major, and I had spent the past six years complaining about how much I hated math. My first semester of college, I failed both calculus (a calculus class I had already taken in high school, mind you) and gen chem and got put on academic probation. My second semester, I retook calculus and passed with a D, passed my second lab science with a D, and only passed the intro computer science class with a C. I struggled with every assignment, every test, no matter how many hours I studied or professors I spoke to, I couldn’t do well. I spent a good chunk of my freshman year more depressed than I have ever been, and anxious about getting kicked out of school. It took a visit to my doctor to discover that STEM was not meant for me. In my heart, I knew that, but I thought I could push through to get my degree. But what would’ve happened then? I would’ve gotten a job I hated and been just as miserable. Basically, there’s no way that this will end well. Please choose your major based on what you’re passionate about. No matter how hard you try, you can’t make yourself love something you hate. Even if you excel academically, you’re setting yourself up for more unhappiness. It doesn’t matter how much money you have if you’re miserable. Please trust me on this. 
  • There’s nothing wrong with changing your major. Tbh, changing your major is great. You’re paying all this money to attend university, you deserve to study what you want to study. If you’re like me and discovered that your current major isn’t for you, change it as soon as possible. Don’t push it off and think “it’ll get better!” because before you know it, it’ll be senior year and you’ll either have to finish what you started or stay in school another two years just to graduate. I know it’s scary at first, but your mind changes! I swore to myself i would never change my major, and now it’s only my second year and I’ve transferred to a completely different school in my university to major in a completely different field. You can take a couple classes in the field before officially changing your major to make sure it’s for you. And if you change your major and still hate it, guess what? You can change it again! You can change your major as many times as you want. Many people in the work force have jobs in fields that have nothing to do with their degree, so it’s not like your major is a determining factor for the rest of your life anyway. Literally all of my friends who are about to graduate have both been on academic probation and changed their major at at least one point; one just changed his major during his fourth year. The point here is that nothing is permanent and change is going to have to be embraced if you decide college is for you.
  • People are going to judge you, especially if you’re in the humanities or arts. The reactions I got when I told people I was a computer science major versus the reactions I get now when I tell people I’m a gender studies major with an italian minor are so vastly different it’s ridiculous. People used to be so proud and impressed of me. Now when I tell people what I study, they can’t even hide their confusion and judgement. It’s so awful. I constantly get asked, “what are you going to do with that?” “how are you going to make any money?” “what job opportunities are in that field?”. The answer is always that I don’t know yet! I didn’t know when I was a comp sci major either, yet no one asked me then, because STEM professions are seen by our society as more valuable. All i know is that I want to help people. Whether that be through policy, law, psychology, non-profits, even my music, that’s what I want and that’s what I’m going to do. News flash, people! There’s no guarantee of a job no matter what field you’re in. There’s plenty of unemployed people with engineering degrees. Even on campus, people in STEM fields tend to be condescending and look down to us in humanities. I can’t even imagine the crap that art majors get. You have to learn to ignore the looks, the questions, and the sly comments, cause you’ll get a lot of them. Understand that what you’re doing is just as valid and important as anyone else. If it’s what you want to do, it’s inherently super cool!
  • I understand everyone can’t take my advice on this, and I’m sorry. Obviously some people don’t have the freedom to choose whatever they want to study. I have friends whose parents have threatened to literally cut them off if they don’t stay pre-med. Sometimes factors are outside of your control and that really sucks. What i want to say to you is that, again, nothing is permanent. Someday you’ll be financially independent, living alone, and won’t have to rely on your parents. Their opinions won’t matter. Even if you had to get a degree in mechanical engineering or bio, you don’t have to pursue that. At least not forever. You really just have to look at the light at the end of the tunnel. Your major in college does not define you or your future. 

I hope this maybe helped ease some of your worries concerning college majors! Remember what you want is what’s most important. Post on deck: advice on surviving orientation week (including move-in day and first day of classes)! 

Previous post: Application Advice

diego luna films i've seen rated by his moments in them
  • Y Tu Mama Tambien: He is a main character and in almost every scene. Wow. You see so much, possibly TOO much of Diego, so watch out if you're a minor or just don't like sexual scenes in films. Definite gay vibes with co-star played by childhood best friend Gael García Bernal. There's a wonderful and powerful confrontation scene between the two men around an hour in, Diego's acting is WOAH. And everyone thought he was the ugly one, we were so wrong. AND SO MUCH SPANISH. The phrase 'no mames' is uttered approximately 178 times. 9/10
  • Frida: Salma Hayek plays artist Frida Kahlo in this unique film. Diego plays her young lover Alex in the beginning of the movie; they have sex in a closet at some point, wild. Their relationship is cut short after a tragic bus accident which leaves Frida crippled. He brings her flowers and they break up, and Diego's role is finished. But I just had to keep watching because of how special the cinematography of this film is! The bus accident is so well directed it blew my mind. I don't know enough about Frida Kahlo to know how accurate this film was, but it was certainly a once-in-a-lifetime experience. But since this is a list about Diego, low points ought to be given. He really isn't in this movie a lot. Let's see, 2/10.
  • Havana Nights: A true cinematic treasure. Also known as the worst movie you will ever see and you will love every second of it. Bad script, zero plot - but Diego does his best and fucking nails every moment in this film, carries it on his back. Apparently no one told him that he was supposed to act robotic, so everything he does is sweet and natural and he makes it look easy. All the while dancing himself into Castro-era Cuba, which he does SO well that Jonathan Jackson, who is supposed to be his romantic rival, actually seems TURNED ON whenever he sees Diego dance. Nice. Sweaty group-dance sequences, cutish one-liners. Actually makes out with dance partner Romola Garai in front of her PARENTS, after a very erotic dance routine, like how savage. 10/10
  • The Terminal: Diego plays airport employee who befriends Tom Hanks, and probably charms the pants off him, because he is wonderful in this secondary role. During the 2 hours of this film, all he wears is a jumpsuit/uniform and makes it look like a fashion statement. Has quite a lot of one-on-one scenes with The Tom Hanks himself, and is in love with Zoe Saldana, which is sweet, if not a bit generic chasing the girl type of thing. There's a scene where he absent-mindedly starts speaking Spanish to Tom Hanks who of course doesn't understand him, and Diego's very very cute about it. LO AND BEHOLD: one hour in, he changes into a suit while pouring Catherine Zeta-Jones too much wine. A breathtaking moment. 6/10
  • Mister Lonely: A very strange film about celebrity imitators. Diego plays a Michael Jackson impersonator in the film, his voice and looks imitating the singer and dancer. The movie introduces us to a surreal world of people living the lives of the famous people they dress up as, blurring the line between impersonating and becoming. He's rather in the center in the first and last bit of the movie, but the focus shifts in the middle with the story of "Marilyn" and "Charlie Chaplin". This film is a true risk-taker, which means it's not for the masses. Very thought-provoking though! 7/10
  • Milk: Diego plays Sean Penn's gay lover, and he's only in this movie for a short period of time. Kind of mentally unstable in this role, he tells Sean Penn he loves him without actually knowing what his name is. The movie deals with gay rights and is set in the 1970s, resulting in everyone having funny hair. This is an important LGBT film, but I hate Sean Penn, so there you have it. He is admittedly a skilled actor though. However, the lack of Diego in the majority of this film has to mean low points. 3/10
  • Rudo y Cursi: Another Diego-Gael movie. This time, it's about football. This is an excellent and very sad film set in Mexico that discusses the world of professional football playing. Diego is very different both in looks and in character from how he is in his other films - it's like he's a different person! That says a lot about his acting skills really. This film is also in Spanish, Diego shouts a lot (and very well too) and calls everyone 'chinga' and 'güey'. 8/10
  • The Book of Life: What a film! This animated feature has Diego portray main character Manolo Sanchez and makes you swoon basically. Since he's present in voice-acting only, you don't get to see his pretty face, BUT his voice is gorgeous both in speaking and in singing. A lot of songs are sung by Diego in this movie, and it's so so good. The Apology Song made me cry. Fun fact: Zoe Saldana is once again a love interest to Diego in this film, and their duet No Matter Where You Are is short but earth-shattering. 9/10
  • Casanova: Yep, Diego plays Giacomo Casanova in this TV movie, so you get the idea. It's about Casanova starting over in Paris, but things do not go well. Diego is very charming and rather authentic as Casanova. He makes out with women and climbs on rooftops in heels. Lots of close-ups to his face, I approve. However, this film confuses me. It's set in France, yet people speak with a British accent, except for Diego of course, who speaks with a Mexican accent BOTH in English and in Italian. The latter bothered me a bit, seeing as he is supposed to be a native Italian. All that aside, his performance is overall lovely. This film also has nice cinematography and a pretty solid script. Lots and lots of Diego seducing not-so-innocent maidens. 10/10
  • Rogue One: The greatest movie you will ever see. Diego has the role he deserves as he steals all our hearts as Captain Cassian Andor. You guys know the scene he gets all wet in the rain and then loads his gun on the ship? Sign me up. Warning: you WILL cry. 100/10
TV show AU

I couldn’t get this idea out of my head, so I wrote it! Also sorry for the lack of quality, school just started and I’m already stressed. Words: 1.7k



Lance hid a cough in his shoulder as he listened to Shiro explain the filming schedule for the season finale, his voice sounding as if it was a hundred feet underwater, the words just barely reaching Lance. He swayed slightly on his feet, his legs feeling like jelly underneath him, ready to give out at any moment. “Lance!” Shiro snapped, throwing him a sharp glare, all eyes turning to the pale boy. “Are you listening?”

“Y- yes,” Lance stammered, the words tearing at his throat, making it feel like it was on fire. Out of the corner of his eye Lance could see Keith giving him a strange look, his eyebrows furrowed and his mouth pursed. Lance ignored him, turning his attention to the director, who was very clearly getting annoyed at Lance’s lack of concentration.

“As you know the finale needs to be out in three days, so I will need all hands on deck and everyone’s full concentration” Shiro continued. “Keith, Lance, are your lines memorized? As the stars of the show you need to be fully focused and ready to give this all you’ve got.”

“That won’t be a problem, Shiro,” Keith confirmed, staring at Lance. “Lance, are you set?”

“Of course, I know my lines like the back of my hand,” Lance shot back, his voice cracking just a tiny bit, unnoticable if you weren’t paying attention. Even so Keith gave him another strange look as if trying to read Lance.

“Excellent. Hunk, are we set on food? You’ll need to have breakfast for everyone…” Lance drifted in and out of concentration, Shiro’s words nothing more than background noise, like faint music barely discernable. It was Keith that brought him out of his stupor, shaking Lance by the shoulders.

“Come on, we need to go see Coran at hair and makeup.” Lance blinked, the scene in front of him going in and out of focus, an old picture that he couldn’t seem to make out.

“What?” The words seemed foreign to Lance, like someone else was speaking for him.

“What’s wrong with you today?” Keith said, urging him towards hair and makeup. “You’re never this out of it.” Lance knew that Shiro would stop filming if he knew Lance wasn’t feeling well, but there was no way he would ever disappoint his colleagues, or the fans by making the finale late. The entire season had been building up to it, and he would crush thousands of people if it was late.

“Nothing, just didn’t get much sleep last night,” Lance lied, remembering how he had slept through three different alarms that morning and had woken up in a panic, ten minutes left to get to the studio.

“You’re going to need to be alert,” Keith reprimanded. “If you slow down filming at all because you’re ‘tired’ Shiro’s going to be pissed.”

“I know,” Lance sighed. “I’ll get myself together, I just need to wake up more first.”

Lance nearly fell asleep at hair and makeup. Coran slowly spread bronzer over his pale, sickly complexion in a vain attempt to make him not look like an extra in a zombie movie. The urge to cough bubbled up in his throat and Lance pushed it back down, not wanting to disrupt Coran. Coran’s hands passed over Lance’s forehead and Lance could feel him tense as his fingertips lingered on Lance’s forehead a second too long.

“You feel warmer than usual, my boy,” he frowned. “Are you feeling well?”

“Fine,” Lance responded, taking the opportunity to subtly swipe at his nose, the powder drifting around him in the air irritating his nostrils. “I run warm sometimes, it’s nothing to worry about.” Lance could tell that Keith was tuning into the conversation in the next seat over, his head turned just enough so that he could see Lance out of the corner of his eye. Lance decided to make it his mission to ignore Keith for the remainder of the day. Keith was observant, there was no denying that, and Keith running his mouth would inevitably result in problems and added stress for everyone.

“Are you positive?” Coran pushed. “You’re quite pale as well.”

“I’m feeling great!” Lance snapped. He let out a shaky sigh, remorseful when he spotted Coran’s hurt expression. “Just keep going, I’m fine.”

After half an hour Lance was looking slightly less pale, although it had been impossible to cover up the faded pink patches, high on Lance’s cheekbones. “Here is your costume,” Coran said, tossing Lance a pair of jeans and a blue tank top. Lance mentally cursed when he saw the outfit, drawing his jacket tighter around him. He was already freezing, goosebumps popping up on his arms. The AC was on full blast, making the studio feel like the arctic tundra to Lance. He eyed the tank top with disdain, knowing he would be freezing in the skimpy fabric.

“Thanks, Coran,” he sighed, accepting the clothes. He ducked into his cramped dressing room, the mirror reflecting a ghostly pale boy huddled in a massive jacket, barely concealed bags hanging underneath glassy eyes. Lance’s nose twitched and he stifled a sneeze, muffling it into his arm. Relief filled him for half a second until he stifled another sneeze, a tiny tear rolling down his face. His nose was completely blocked up at that point in the day, making breathing from his nose impossible, and he was positive that any talking he had to do would be a congested mess.

He slid on his outfit, goosebumps popping up on every inch of his skin. A violent shudder passed through his body and he rubbed his hands up and down his arms, coaxing a small bit of warmth into his limbs.

“You look like hell,” Keith announced as they simultaneously stepped out of their dressing rooms, Keith dressed in a warm looking leather jacket and black jeans, appropriate of his tough but kind character, Lance’s love interest in the show.

“At least I don’t look like someone from a hot topic ad,” Lance shot back, the waver in his voice destroying any chance that Keith would take him seriously.

“Just come here,” he sighed.

“Why?”

“You look like you have a fever. You’re obviously sick.” He reached over to feel Lance’s forehead but Lance ducked away, barely evading Keith’s hand.

“I’m fine,” he insisted. “Just tired. Come on, Shiro will be mad if we’re late for filming.”

“Lance, it’s your line!” Shiro yelled from his director’s chair for the umpteenth time, angrily throwing his script onto the floor. “Allura, stop filming.” The cameras stopped rolling as Shiro stomped onto set, placing himself directly in front of Lance. Lance gulped, a thousand razor blades going down his throat. He nearly cried out in pain but bit his tongue, not wanting to give any sort of indication that he was sick. It was impossible to deny at this point, the fever brewing underneath his skin making his condition obvious. From the special effects booth Pidge cut the lighting, making Lance’s pale face stand out like a corpse.

“Lance is something wrong?” Shiro asked and Lance could tell he was trying to keep his temper in check. Shiro cared about all of his cast and crew but often his frustration got the better of him. “You’re missing all your cues, you don’t know any of your lines and your acting is way off.”

“Can I go to the bathroom?” The words spilled out of Lance’s mouth, a waterfall of words pouring out of him. Lance could feel Keith’s eyes on the back of his neck, boring into him.

“I think we could all use a break,” Shiro decided, squeezing his eyes shut and rubbing his temples. Lance felt a sharp pang of guilt as he saw Shiro’s obvious stress, knowing that he was the one who had caused it . “Everyone, be back here in ten minutes ready to do your best.” As the stage emptied around him Shiro stopped Lance, gently putting his hand on his shoulder. “Are you okay?”

“Honestly Shiro I’m fine,” Lance responded, the last two words coming automatically. “By the end of the break I’ll be ready to work my hardest and do my best.” Lance’s smile was the definition of fake, not even close to reaching his fever glazed eyes.

“Perfect,” Shiro grinned.

As soon as Shiro was down the hallway and out of sight, the stage completely empty Lance bent over, coughs raking their way up his burning throat. Tears sprang to his eyes, rolling freely down his flushed cheeks. The makeup that Coran had spent so long trying to perfect was gone, the fact that he would have to re-do it making Lance feel a hundred times worse.

It was hard to say how long the fit went on for but the only thing Lance knew was when he stood up, completely wiped out Keith’s hand was on his back, the black haired boy staring at him with such concern it was hard to believe.

“Don’t try to tell me you’re fine, because I know you’re not,” Keith said before Lance could get a word out. Keith slapped a hand to Lance’s forehead, wincing when he felt the heat rolling off of the brunet in waves. “You’re burning up.” Lance tried to take a step but he nearly fell over, Keith catching him before he hit the ground.

“I’m freezing,” was Lance’s only response, his voice raw.

“You sound awful,” Keith commented as he slid out of his leather jacket, wrapping it around Lance’s shoulders. It engulfed Lance like a blanket, making him look tiny. “You could have told me you were sick, you know. Or you could have told Shiro, or Coran, or anyone else. You don’t have to work through illnesses.”

“I know,” Lance sighed, leaning heavily on Keith for support. Keith’s face relaxed as he saw that Lance was finally giving in, admitting his obvious illness. “It’s just that we’re on such a tight schedule, and it would be my fault if the finale was late coming out, and thousands of people would be disappointed. I couldn’t do that to everyone.” He let out another weak cough, looking smaller than ever.

“Everyone cares more about your health than when the show comes out,” Keith gently reminded him. “Take a break, take some medicine. Work will still be here when you’re better.”

anonymous asked:

(Stenbrough anon) just in general!! Thanks so much ☺️

  • Bill and Stan spent a lot of time in the library together studying. That’s how their relationship began. Studying in the library turned into studying at home, then into dinner, movie nights, sleepovers, confessions.
  • Bill spoke up first, stuttered out an “i l-l-l-like y-you. m-m-more than a f-f-fr-ih-hend,” his face quickly matching his red hair. Stan hung on every letter; they formed the most beautiful sentence he had ever heard up until that point. 
  • Stan kissed Bill first. His palms were sweaty and he felt disgusting but he was flying from Bill’s revelation and he pulled him in by his collar and planted one on him.
  • Stan threw Bill a giant bash for his 18th birthday. By this point, the Losers weren’t really losers anymore. In high school, they all seemed to excel in everything they set out to do. Stan had sent out handmade invitations to everyone; Bill was well loved in school, helped by joining the Varsity baseball team in his sophomore year.
  • Stan enlisted the team to help with decorations and entrusted the Losers to bring the food. Richie showed up with a keg.
  • They spent Sunday nights on the couch, wrapped up in a big quilted blanket Bill’s grandma had made him, watching movies and feeding each other popcorn. Bill always made Stan watch horror movies (he genuinely liked them, but he also wanted an excuse to hold Stan close) and while Stan preferred dramas and foreign films. They bonded over French movies and Bill told Stan how his speech therapist had suggested, when he started stuttering, to say the word in French, and it would roll right off the tongue.
  • Stan then asked what else Bill could do with his tongue and almost choked on popcorn when Bill blushed furiously red.
  • Stan never missed a ball game and cheered the loudest in the stands. He even painted his face and had Bev help him make signs supporting Bill.
  • They slowdanced in Stan’s living room while his parents were away. They whispered I love yous. Their shadows cast upon the wall made them seem ten feet tall and this was the moment they went back to time and time again.