genre: romance

Romantic/Fluff Sentence Starters!

“You have something in your hair - let me get it for you.”

“Hm? Oh, sorry. I couldn’t help but stare at you.”

“Um, would it be okay if I held your hand?”

“Shut up and kiss me already.”

“You’re the most important person in my life.”

“Are you tired? Here, I’ll carry you the rest of the way.”

“I’m not much of a chef, but… I really hope you like this.”

“Sorry for calling so late - I couldn’t stop thinking about you.”

“I need you more than you need me.”

“I want to kiss you and hold your hand any time I want.”

“I can’t stop thinking about you… I can’t.”

“The truth is… I love you.”

“You like me more than you like them, right? Right?”

“Be mine. Please.”

“I am who I am because of you.”

“It’s been a long day… let’s take a bath together.”

“Wait, don’t pull away - I want to hug you for awhile longer.”

“Ah- I adore your laugh.”

“Stop that, it tickles!”

“Ouch, I bit my lip… kiss it better?”

“I don’t want to get up… I’m so warm beside you.”

“You’re so intoxicating to me.”

“Your eyes are amazing… do you know that?”

“You’re just so wonderful.”

“S-Stop looking at me like that! You’re making me blush…”

“Are you tired? Rest in your head in my lap.”

“You, Me, Order In, Netflix… waddya say?”

“I want to be more than just friends with you.”

“Fuck it - do you wanna get married?”

“Your smile is beyond gorgeous… please, keep doing it.”

“Whenever we’re together, I feel at home.”

“Will you say you love me? Pleeease?”

“Wait, don’t go! Can’t you stay the night?”

“Wow - you look… amazing.”

“*Puts hands over eyes from behind* Guess whooo?”

“I’m not jealous! It’s just… you’re mine!”

“I want to go on a date! I demand it!”

“We just met, this is crazy, I’m referencing a song… but call me maybe?”

“What? No! I wasn’t staring… I-I was looking at something behind you!”

“Do you want some? Here, open your mouth… I’ll feed you some!”

“It’s been a long day… here, let me give you a massage.”

“Is it alright if I call you princess?”

“It’s not like I like you or anything! … Okay, well- maybe I do.”

“I think your perfect. Even with your flaws, you’re nothing but perfect.”

“That was barely even a kiss! Do it again - please?”

“What? No. I wasn’t aiming for your hand. I was reaching for the, uh- popcorn.”

i’m just… so tired of reading posts complaining about problems that only exist because people won’t read romance novels… it is a huge genre there are books about werewolf dukes, there are books about black revolutionary war soldiers, there are books about south asian doms who care about enthusiastic consent, there are books about shape-shifting cowboys who turn into bears, there are books about lady scientists learning how to trust that their boundaries will be respected, there are books about alien barbarian warriors, there are books about genies, there are books about women of color in victorian london, there are books about polyamorous earls, there are fake marriages and marriages of convenience and basically every fanfic trope that people lose it for exists as a book with original characters but some of the same people who complain about how books no longer satisfy them turn a blind eye to a whole genre because it never occurs to them to read a ~bodice-ripper~ when they could read romantic fanfic of a more respectable genre instead

literature genres

Gryffindor: Anything gripping and Nonsense; at least it shouldn’t get boring. Gryffindors are only enthusiastic about books with a fluent story; otherwise they’d stop reading in the middle of the book. About the half of the Gryffindors actually read a lot of books; the others aren’t really passionate about reading.

Slytherin: Nonsense and Horror. Just like the Gryffindors, they hate stories that flatten down in the middle. Slytherins usually read a lot and share their muggle books (after the war against Voldemort, they got more tolerable with muggles and mudbloods), so they’re all reading the same books and nobody’s alone in their fandom.

Ravenclaw: The most of the Ravenclaws are fond of either dramas and non-fiction or real stories. They don’t really like made-up, surreal stories and fiction, except old tales and myths; they also read and write a lot of poems. Only a few purebloods read muggle books because the Ravenclaws usually like to buy the books themselves.

Hufflepuff: They’re having a soft spot for Comedy and schmaltzy Romance. The Ravenclaws find it pretty tasteless of the Hufflepuffs for liking kitschy books, but they actually just read them for fun. Hufflepuffs never really take novels they read in their spare time serious; that’s why they avoid creepy or serious texts. They basically read for amusement.

the houses as literature genres requested by anon

inbox is open!


Title: The Execution of the Last Steal [AO3]
Pairing: J2
Rating: NC-17
Warnings: Thief!Jensen, Hacker!Jared, Protective!Jensen, BAMF!Jared, BAMF!Jensen, Jealous!Jensen, Friends To Lovers, Pretended Couple (between the Js), Mild Violence, Top!Jensen, Bottom!Jared, Happy Ending
Word Count: 97k
Summary: Anyone who meets Jared Padalecki would think he has the perfect life: a college degree, a normal life and an apparently perfect fiancé, Stephen Amell, the son of a Senator with a bright future. Except for one thing: it’s all based on a lie. Five years ago, he created a new identity for himself to cut all ties to his criminal past and ex-boyfriend Jensen Ackles, a world-renowned thief.

But Jared can’t run forever. A threat from his past comes back looking for him and the only person who can help him is the man he thought he left behind forever, the only person Jared’s never been able to forget.

Incredibly charming and just as cocky, Jensen Ackles is a thief that is too good at his job for his own good, who would do anything to protect Jared now that his life is in danger. Years have gone by, but he has never been able to forget Jared either.

And perhaps now that they are forced to escape together, Jensen might be able to do what he’s best at: steal Jared’s heart one last time and win back the only person Jensen has ever loved.
Partners of the Four-Legged Variety
By Organization for Transformative Works

Oneshot | NC-17 | 18.000

Romance | Domestic | Fluff | Humour | Post-Hogwarts

The Auror Department is instating a K9 Crup Unit, and Harry is the first to sign up. Turns out the professional trainer is Draco Malfoy, and he has to live with Harry as part of the Crup training programme.



“As soon as he reached them he dropped to his knees, getting his jeans soggy in the mud, and the puppies all lost their composure. They yipped, squirmed and leapt excitedly up into Potter’s waiting arms. His warm, full laugh echoed out into the crisp morning air. Draco opened his mouth to tell him off for not waiting for permission, but the sight of the puppies happily wiggling their way through Potter’s arms to lick any part of him they could reach made warmth spread through his stomach.”


““…and that is why, to this day, they remain the number one choice for trainable companions of wizards and witches,” Malfoy finished, sounding every bit as proud and haughty as he had at school.

Harry nodded, not wanting to draw attention to the fact that he hadn’t listened to most of what Malfoy had said”

Same Harry. When there’s a puppy, all attention goes to puppy. It’s a rule.

Okay tbh this review will only be of me screaming about how much I love puppies, but if puppies haven’t convinced you yet, you’re weird and cruel. This is an absolute masterpiece, Harry is super hot and totally got the hots for Draco and it’s super cute and fluffy. And there are puppies.

There was talk about Harry’s childhood with the Dursleys, which is always something I love, praise kink (HNG), Draco has like a million and one jumpers and Harry and Draco’s banter. Just. Love it.
1,000 Points From Gryffindor
By Organization for Transformative Works

By blithelybonny (HD_Erised 2016) | Harry/Draco | NC-17 | 25,000

The story of how Harry Potter single-handedly lost Gryffindor the House Cup while attempting to have a “normal” year at Hogwarts. Featuring Harry’s suspicious nature turned up to eleven again, a new DADA teacher who is so not here for Harry’s fame, multiple detentions, Slytherins being sneaky, Hufflepuffs being sneakier, and the mystery of Draco Malfoy’s hoodie because seriously Hermione who gave that to him and is he wearing it just to torment me? This is ridiculous!

Genre: Humour, Banter, 8th year, Cute

My Comments: Bless my heart, this is the cutest and silliest and funniest story I’ve read in a while. Harry is just so captivated by the mystery of Draco’s Hufflepuff sweater and they’re both so cute about it.
Five Weddings and a Potions Accident
By Organization for Transformative Works

Oneshot | NC-17 | 19.600

Humour | Romance | Post-Hogwarts

In which Harry thinks he’s a playboy, everyone else knows better, and Hermione will kill Seamus if Ron tries to collect on that bet.

Weeds or Wildflowers
By Organization for Transformative Works

By lumosed_quill, sdk (HD_Erised 2016) | Harry/Draco | NC-17 | 17,300

A perfect match, a romance for the ages, with a one hundred percent success rate! Magic Match claims they can give Draco all of this. So why do they keep sending him on dates with Harry Potter?

Genre: Humour, romance, teasing, dirty talk

My Comments: This fic was so cute and funny.


Bughead. Because Riverdale is on hiatus and my heart hurts.

Rating: G/K+
Genre: Friendship and Romance
Characters: [Jughead and Betty], Archie, Veronica
Words: 4,277

Archie Andrews makes Betty Cooper fuzzy inside. He’s like a cloud in her brain that makes her happy. But, Jughead Jones makes everything clean, and sharp, and focused. These days, the clarity is much appreciated. OR the one where Betty loves everyone so much and deserves the best. [runs before and alongside canon to 1x07]


Love is a tentative, fluttering feeling that cannot be pinned in one place. It eludes those who pursue it and smothers those who hide from it. Just when one thinks they have grasped it, it spins away in another direction leaving a trail of breathless people in its wake.

Betty Cooper loves an awful lot for a girl as young as she is. Her heart is bigger than her body and her smile spreads joy to all those who see it. Her blonde hair is in pigtails with not a hair out of place and her pink sweater is worn over a white skirt with matching pink flats. She’s spotless and bubbly and her mother would accept nothing less.

She’s hardly wary of sitting next to the boy at the table. He has dark hair and a too big hat on, but she smiles at him anyways, and the friend that’s seated with him. Archie grins at Betty with equal ferocity and they chatter back and forth, but Betty notices the third party stays suspiciously quiet. Her eyes drift to him, big and green, but he never looks her way.

Archie leaves to go to the bathroom briefly, and Betty props her elbows on the table. She cocks her head in the mysterious boy’s direction and smiles at him again. He looks uncomfortable, but she just asks him for his name and birthday. He gives it and she beams in response.

Archie comes back and sees that Jughead Jones III, who has hardly opened up to him at all, is happily conversing with Elizabeth Cooper as if it is meant to be.

Keep reading

anonymous asked:

Hi! What differentiates the romances and problem plays from the other comedies?


The ‘problem plays’ (coined by F. S. Boas in 1896) and ‘romances’ (coined by Edward Dowden, 1875) are later categories applied to comedies that don’t fall so neatly into the categories of ‘comedy’ or ‘tragedy’. They’re not genres that have been universally accepted by critics, partly because they didn’t exist as categories in Shakespeare’s time; so some critics tend to prefer ‘tragi-comedy’ instead. The problem plays are typically made up of the trio of Troilus and Cressida, Measure for Measure and All’s Well that Ends Well. Romances are generally The Tempest, Pericles, Cymbeline, The Winter’s Tale (and maybe The Two Noble Kinsmen).

Problem plays are those that are considered hard to categorise, or which include elements that are particularly problematic or disturbing. Because very few of Shakespeare’s comedies are straightforward or wholly comedic in form, the category of ‘problem play’ quite complicated. For instance, The Merchant of Venice, Timon of Athens and The Taming of the Shrew aren’t generally included in the problem plays, but many find it difficult to accept them as comedies. Still, the general consensus is that problem plays are genre-breaking and/or raise difficulties that can’t be fully resolved in their denouements. Troilus and Cressida is the obvious one, since even the folio doesn’t know how to categorise it (it doesn’t appear in the catalogue table, and is found at the beginning of the tragedies, as though the editors didn’t know where else to place it), and its ending offers no resolution, either by death or by marriage. All’s Well and Measure for Measure seem to offer more of a resolution, but the plays contain many morally problematic and bewildering elements such as bed-tricks and surveillance, as well as serious social issues like the abuse of rank and the role of punishment in society. In other words, these plays raise complexities that can’t easily be sorted into pleasure or pain. The ‘comedic’ ending of these plays is merely formal, failing to resolve issues in any satisfactory way for the characters or for the audience – perhaps even suggesting the immorality of the comedy conclusion and the imposed pairing off of couples. These plays often deal with both sides of a problem or a character in too much detail for the final synthesis and resolution to be satisfying.

Romances, on the other hand, refer mostly to Shakespeare’s late plays, but the grouping points to the thematic elements shared by the plays. These plays tend to include masque-like elements such as song and dance (as well as parts that require spectacular effects); fairytale or mystical elements such as magic, lost children or riddles; father-daughter relationships; potentially tragic elements such as Prospero’s anger or Leontes’ jealousy, young lovers that are not central to the story; and reunions that suggest a general theme of faith, regeneration and redemption. Some of these themes are present in earlier plays (King Lear, for instance), but not quite in the form they appear in these late plays. Again, the classification is given in recognition of the fact that these are often more complex forms of comedy that deal with greater problems – both internally and in geographical or dynastical issues – and that frequently require much longer time frame to deal with issues (much like Medieval romances), because the resolution often needs to be deferred to the next generation.