first attempt at these things

ejectnowplease  asked:

What stores do you go to for stationary? I also wanted to ask about what language has been the hardest for in grammar wise: Japanese, Chinese or Korean?

Hey there! I buy stationery from all over the place, but mainly Wilkinsons since it’s super cheap and cute or Amazon, and if I have a bit more money I’ll splash out at Paperchase. Also shameless self promotion I’ve started selling stationery on Etsy so I’ll use the prototypes/first attempts of the things I have for sale there *^^*

For grammar… well I don’t really know enough Chinese so I’ll discount that. Tbh I think Japanese and Korean are both challenging and pretty similar. I found Korean a little easier since I started learning Japanese first so was more familiar with structures and different forms and things, but really I don’t think one is that much easier than the other in my experience!

I hope this answered your questions ^^

Do you remember when you were a child

and your mother kept telling you

“Don’t look directly at the sun or you will go blind.”

?

Well, you are the sun.

And I keep looking, looking, looking,

Until my eyes burn and tears fall down my cheeks,

But I do not close my eyes.

You burn so brightly I can still see you clearly behind my eyelids when my night falls because I live for your light and I cannot let you go, and even if I will turn blind I want you to be the last thing I’ll ever see, your hand clasped in mine.

A love letter to you from the Moon, from Dionysus, from Grantaire.

8

A bunch of screw-ups in your family. I mean, your mom… I’m not even surprised what happened to your brother. I’m sorry I have to be the one to tell you, but the Byers, their family, it’s a disgrace to the entire—

anonymous asked:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

That’s all there is to it.

-Michi

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Texts to MC

This is my first attempt on trying something for the mystic messenger fandom. It’s not the greatest because I’m not as good as the other head canon blogs on here. 

Anywho RFA boys + V & Saeran [ can’t I just say RFA? V is apart of the RFA and I’m sure Saeran joined later on? LOL ] Text messages to MC. 

I would not mind if I got feedback. It’s my first post for the Mysme HC’s. 

Also…I have a second part to this, it’s a little more NSFW than this one hah. if people liked this enough i’ll post the other one.           

Part 2 is here

Yoosung.

Zen.

Jumin

Saeyoung

Jihyun Kim / V

Saeran

3

My first attempt at trying to draw an actual background/room/thing that has furniture inside.

psssst dirty laundry

50 Philosophical Questions
  • Send Me a Number and I'll answer that Question!
  • 1: Is it worse to fail at something or never attempt it in the first place?
  • 2: If you could choose just one thing to change about the world, what would it be?
  • 3: To what extent do you shape your own destiny, and how much is down to fate?
  • 4: Does nature shape our personalities more than nurture?
  • 5: Should people care more about doing the right thing, or doing things right?
  • 6: How can people believe in truths without evidence?
  • 7: Where is the line between insanity and creativity?
  • 8: What is true happiness?
  • 9: What things hold you back from doing the things that you really want to?
  • 10: What makes you, you?
  • 11: What is time?
  • 12: Is mind or matter more real?
  • 13: Do you make your own decisions, or let others make them for you?
  • 14: What makes a good friend?
  • 15: Why do people fear losing things that they do not even have yet?
  • 16: Who defines good and evil?
  • 17: What is the difference between living and being alive?
  • 18: Is a “wrong” act okay if nobody ever knows about it?
  • 19: Who decides what morality is?
  • 20: How do you know that your experience of consciousness is the same as other people’s experience of consciousness?
  • 21: What is true strength?
  • 22: What is true love?
  • 23: Is a family still relevant in the modern world?
  • 24: Where do thoughts come from?
  • 25: What is beauty?
  • 26: How do you know your perceptions are real?
  • 27: How much control do you have over your life?
  • 28: What is freedom?
  • 29: What is infinity?
  • 30: What happens after we die?
  • 31: What defines you?
  • 32: Is it more important to be liked or respected?
  • 33: Do we have a soul?
  • 34: Where does the soul live?
  • 35: How should people live their lives?
  • 36: If lying is wrong, are white lies okay?
  • 37: Is trust more important than love?
  • 38: Is it easier to love or be loved?
  • 39: Is it better to love and lose or never to love?
  • 40: Do aliens exist?
  • 41: The structure of DNA appears to be intelligently designed, what are the implications?
  • 42: Is there a reason to life?
  • 43: Is life all a dream?
  • 44: When does consciousness begin?
  • 45: Do dreams mean anything?
  • 46: Can we have happiness without sadness?
  • 47: How did the universe begin?
  • 48: Is there a supreme power?
  • 49: Do soulmates exist?
  • 50: What is a normal person like?

Apparently the director for the finale (Ralph Hemecker) is the same person that directed these episodes filled with some of our favorite Swan Queen scenes:

1x10 7:15 A.M.

2x1 Broken

Let her go/she is not dying.

Magic by touch!

The True Love push (because that’s a thing, right?)

2x9 Queen of Hearts

Regina saving Emma.

2x16 The Miller’s Daughter

This scene!!!

3x1 The Heart of the Truest Believer

The face Regina makes when they get Emma out of the water.

You want to be friends?

3x11 Going Home

Swan Mills Family <3

Emma?

Happy endings aren’t always what we think they will be. Look around you.

My gift to you… (I’m still crying 3 seasons later)

3x14 The Tower

Jealous!Regina asking about Walsh.

3x19 A Curious Thing

Jealous!Emma. (a curious thing indeed)

First attempt in the series for Emma at coming out of the closet.

Precious family.

The face Emma makes when Regina wakes up after being hurt…

… and the face she makes when Regina tells Henry she loves him/they share TLK.

4x01 A Tale of Two Sisters

Emma wanting to give Regina her happy ending.

4x09 Smash the Mirror

Regina’s reactions to Snow and Charming being okay with Emma getting rid of her magic.

4x12 Heroes and Villains

shots.

“I’m in.” “You are?” - The original™

4x15 Enter the Dragon

“I’m gonna stick by you.”

worried/jealous!Emma.

4x20 Lily

Maybe I need you.

road trip!

Swan Queen + rainbow colors (where are you looking, Emma?)

You are better than this.

4x23 Operation Mongoose Part 2

how many first meetings do these two get?

Swan Mills Family in every universe.

Actions speak louder than words.

5x12 Souls of the departed

Regina don’t ask me to leave you Mills

6x07 Heartless

When a True Love couple ™ parallels you (and as you can see above, it’s the same director for both episodes)

the moment when Regina mirrors David, and gets in front of H00k and we get Snowing + Swan Mills Family.

Girls Night | Wanda Maximoff/ Natasha Romanoff |

Anonymous requested: Hey! Can I request a smutty Wanda x Natasha x Reader threesome? Like maybe they’re having a girls night out at the club and it gets hot, so they head back to the reader’s place? Thank you xx
Sure thing sweet cakes! This my first attempt at a smutty threesome, but I am going to try my hardest for you.

Summary: Normally ‘Girls Night’ consisted of staying at yours and eating junk food and watching movies, but this time Natasha wants to do something different. Besides, clubs are always fun, right?

Warnings: This is pure filth. Face-sitting, eating out, fingering, tribbing, ménage à trois, dirty talk, hair-pulling, choking, masturbation, swearing, alcohol consumption, semi-public foreplay.

Originally posted by capntony

Originally posted by queenturtle14


“Tonight, ladies, we are doing something different!” Natasha exclaimed as she burst into the room, making you and Wanda jump.

“Like what?” You asked, worried about what she had in mind. Her kind of different could be anything from going out to leading an interrogation. She smirked and held up three dresses and make up.

“We are going to a club.” She stated, making both you and Wanda grin. It had been so long since you’d been to a club, and what better way to celebrate the end of one of the toughest missions yet than going out with your best friends.


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