got places to go

When you get older, you notice your sheets are dirty. Sometimes, you do something about it. And sometimes, you read the front page of the newspaper and sometimes you floss and sometimes you stop biting your nails and sometimes you meet a friend for lunch. You still crave lemonade, but the taste doesn’t satisfy you as much as it used to. You still crave summer, but sometimes you mean summer, 5 years ago. You remember your umbrella, you check up on people to see if they got home, you leave places early to go home and make toast. You stand by the toaster in your underwear and a big t-shirt, wondering if you should just turn in or watch one more hour of television. You laugh at different things. You stop laughing at other things. You think about old loves almost like they are in a museum. The socks, you notice, aren’t organized into pairs and you mentally make a note of it. You cover your mouth when you sneeze, reaching for the box of tissues you bought, contains aloe.

When you get older, you try toner, you experiment with trousers, you experiment with real sexy outfits, you experiment with pin curls and darker hair and orange-toned red lipstick and you date people that look good on paper. You kiss them in public and feel only a little self-conscious. You never like them, although sometimes you really do. you think about safe sex and sometimes, kids. You think about plants, maybe succulents, or maybe even a cat?

When you get older, you try different shampoos. You find one you like. You try sleeping early and spin class and jogging again. You try a book you almost read but couldn’t finish. You wrap yourself in the blankets of: familiar t-shirts, caffe au lait, dim tv light, texts with old friends or new people you really want to like and love you. You lose contact with friends from college, and only sometimes you think about it. When you do, it feels bad and almost bitter. You lose people, and when other people bring them up, you almost pretend like you know what they are doing. You try to stop touching your face and become invested in things like expensive salads and trying parsnips and saving up for a vacation you really want. You keep a spare pen in a drawer. You look at old pictures of yourself and they feel foreign and misleading. You forget things like: purchasing stamps, buying more butter, putting lotion on your elbows, calling your mother back. You learn things like balance: checkbooks, social life, work life, time to work out and time to enjoy yourself.

When you get older, you find things like rejection hurt less and things like nostalgia hurt more. You watch people do things you want to do, and then you do some of those things too. Things start to feel like pins on a map. You watch landmarks pass and almost note them. You eat a taco from a food truck and be careful to dab the corners of your mouth with a napkin. You smooth your shirt down. You think about details, the details of how clean the beer cup is, how you need to put the dishes away, how she smells like a perfume you wore and how his teeth are perfect and aligned. You feel a little less downtrodden by things like routine and security and a little more appreciative of things like doing nothing, finding a friend, stretching on a big couch. You hear old songs and only sometimes do they gut you. You think about your future almost always, in both a thrilling way and a very very panicked way.

When you get older, you find yourself more in control. You find your convictions appealing, you find you like your body more, you learn to take things in stride. You begin to crave respect and comfort and adventure, all at the same time. You lay in your bed, fearing death, just like you did.You pull lint off your shirt. You smile less and feel content more. You think about changing and then often, you do.

When you get older, you barely notice it at all. Then, you are sitting somewhere you’ve been before, staring at the nothingness of the sky, and you feel the wind moving away from you, fast and almost impossible to catch.

—  When You Get Older, thefrenemy

when a mutual deletes and you feel like ben affleck at the end of good will hunting and you’re happy that matt damon finally got out of here but you still have no place else to go

I just watched a french fry challenge on YouTube where you are blind folded and have to guess where different fries come from, and now I want an AU where Stiles is a vlogger who challenges Derek to the french fry challenge and if Derek loses, he has to go on a date with him. 

Despite being a french fry connoisseur, Stiles loses the game. He tries to play it casual, tries to be a good sport about it, but he’s actually just plain miserable that he won’t get the chance to take Derek out on that date and woo him. He knows it’s stupid but he just….really wanted the chance to prove to Derek he can be romantic and deserving of him and all that couply jazz. He wanted one setting where he didn’t have to be careful about flirting with Derek too obviously. One night where he could just look a him without feeling self conscious when Derek caught him and chalk it up to the “Stilinski date experience” or something equally as pathetic.  

Basically, he just wanted one night to know what it felt like to hold Derek Hale’s hand (if Derek would have even let him). 

Derek leaves and Stiles mopes for the rest of the day, trying not to feel sorry for himself and utterly, utterly heart broken. Again, stupid, but he’s been pining after Derek for years. He’s considering going to bed early when his door bell rings and standing there, dressed in a fancy cardigan with a bottle of wine and - several bags of….chicken based snacks? - is Derek, asking if he’s up for “another challenge”. 

Stiles loses again but it’s okay because the moment Derek wins, he turns to him and with a grin that can only be described as the love child of ‘shy’ and ‘shit eating’ (if that is even possible), he cups Stiles’ cheek and says, “I’m going to claim my prize now.” 

The kiss tastes like chicken and too much salt but Stiles doesn’t care because it’s the best kiss of his entire life and his stomach won’t quit doing somersaults.

3

(That last gif demanded this. But on the note, have to wonder if Hakuba’s ever been to one of Kaito’s ‘heists’ where he really doesn’t do anything. Green Dream is especially coming to mind as Kid accomplishing something, just not exactly what everyone expected. Or, you know. Ryoma or that baseball incident. I’d love to know Hakuba’s thoughts on ones like those, even if he gets that Kaito isn’t a bad thief.)

6

Dark x Light

In general there is like. a whole category of Voltron angst premises that utterly fails to make me feel anything because it often severely underestimates the strength of the characters that it proposes to be breaking.

Like… Listen. Lance pretty dang likely had internal injuries and had spent a pretty impressive amount of time unresponsive and he woke up like that and shot Sendak in the shoulder before nearly back out again. This tells us Lance woke up, probably in no small amount of pain, probably pretty loopy since he remembered absolutely none of it afterwards, and the absolute first thing that occurred to him to do is Sendak was right there and he had a clear shot so, fuck that guy. He got in that situation in the first place because he saw a bomb going off and his first priority was to protect Coran- who at the time he’d known for… days, maybe? 

Pidge, the fourteen-year-old, who was pretty much entirely alone on the castle during that same time, having just lost contact with Allura, losing Rover and then hearing Shiro get tortured by Sendak- still kept her head about her enough to try and bait Sendak off with a hologram and was a major part of that fight. I mean. literally, take this emotionally compromised kid and go “you’re officially alone on a spaceship with murderous adult soldiers. They have your friends. They’re hurting your friends. You are the only one in position to do anything. Have fun.” And she won

Keith had his shoulder hacked pretty impressively in the first room of the Trial of Marmora and was given multiple opportunities to bail with a pretty clear pattern that the next room would be worse and have more attackers and Shiro states it as a given that Keith will not give up. Kolivan unambiguously tells him going in this is a life-or-death scenario. This is also Keith who willingly soloed freaking Zarkon with Coran actively telling him that he had no chance of surviving that fight because Zarkon is not getting the Black Lion.

Allura destroyed the last thing she had of her father in order to protect her team and let herself be captured by Zarkon in order to protect Shiro. She caught her second wind and held out against Haggar as best as she possibly could even knowing those odds were not good.

Coran picked a fight with Zarkon’s entire fleet piloting a ship ten thousand years old, alone, and did pretty dang good

Hunk actively, voluntarily, and enthusiastically picked a fight with a planet-eating monster stated to be one of the most dangerous things in space and long before that, all of his misgivings about signing up to save the universe evaporated like morning dew in the Sahara as soon as he saw what Shay and her people were going through. 

A lot of “angst” content seems to really disrespect or even ignore that these people are fighters. Survivors. These aren’t people who flake under pressure. In Shiro’s case, he literally never would have made it if he was. We see that at his worst, during his missing year, when he was utterly baffled by the idea anyone would help him and was pretty unsubtly about to be knocked out and experimented on- he was full of fight. There wasn’t much he could do but he wasn’t going down easily and if nothing else, the fact that there were two good-sized soldiers in full armor in the room taking the role of sedating him would tell us that Shiro didn’t exactly obediently walk to that room in the first place.

I see a lot of stuff that acts like Lance could get captured and in the time it’d take the team to get to him he could be ‘turned to the dark side’ or broken as a person and it’s like… the empire had a solid year to work on Shiro when the latter had the assumption that no one who would want to help him would even have the technology to reach him or even know he was alive in the first place and the empire didn’t win. What honestly makes you think they could take a month and destroy any of the team?

Scene Transitions

An important part of structuring your story in any format is the transition between scenes. When not handled properly, time and/or location jumps in a narrative can become disorientating and confusing, making it harder for the audience to keep up with the action. There are three important things to focus on when transitioning between scenes: where the first scene ends, where the second scene begins, and how to connect the two.

It’s important that each scene have closure. When you leave a scene, you need to know that the goal of that scene was reached. If you leave the scene too early, before you receive that closure, your audience will be left hanging, feeling unsatisfied and off balance. You need to ‘cut away’ when the scene comes to its natural end, when everything is understood and the audience is ready to move onto the next idea. If you leave the scene too late, it drags your story, and makes it feel like the scene is longer than it is.

As with the end of a scene, the beginning of a new scene must feel natural. If you have to backtrack immediately after starting your scene in order to explain whats going on, then it means you’re not starting at the beginning of the scene. You can sometimes get away with doing this, if the reflection is placed naturally in the writing, but you shouldn’t try and push your luck. If all of your scenes start with an immediate backpedal to explain where everyone is, how they got there, and when it takes place, then you need to go back and fix some things.

Information about the change in time and location are important to include. If you didn’t, then it would be impossible for the audience to tell if, when or how these changes occurred. The most widely accepted way of transitioning between scenes is to detail the things done by the characters to go from scene A to scene B. They can do so by showing the transition between locations (“They walked the distance to the theatre, laughing the whole way”), points in time (“hours passed as she sat reading in her favorite chair”), or combinations of the two (“they drove for days, the grassy hillsides of home growing into a looming mountain range”). The information in the transition must do everything to set up the new scene that’s starting.

I am going to use a segment from “These Shallow Graves” by Jennifer Donnelly as an example of what not to do when transitioning between scenes. In chapter thirty-four, a scene is ending where the protagonist and her love interest meet secretly during a ball and make a plan for her to sneak out later that evening. The scene ends on an angsty moment as they both watch her almost arranged fiance dancing with the competitor for his affections. Chapter thirty-five immediately begins with the two of them having met up and halfway to their destination. It is then explained how the protagonist had left the party early, snuck out, and made it to the meeting point.

Feels kinda jenky huh? Here’s how we could smooth this out.

Their plan for meeting up that evening involves the protagonist telling her uncle (who an attendee) that she is feeling faint and using that as an excuse to leave the ball early. This would make more sense as a place to end the scene as it signals the beginning of the transition between locations. When she sneaks out the house is a good place to officially begin the next scene, as it signals another change in locations. Because the time spent at the protagonist’s home is not important to the overall story (her waiting for everyone to fall asleep) this could serve as the transition between the scene of the first and the scene of the second meetings. The cab ride from her house to the meeting place is also its own small transition, and is a good place to reflect on past information without interfering with anything else going on (such as dialogue and bonding between love interests).

Remember! All of the important things to keep in mind when writing scene transitions are:
Know where to end a scene.
Know where to begin a scene.
Know how to connect the scenes.

My little contribution for telltale Riddler.

He is wonderful and portrayed so well it made me want to cry.

“A Secret That’s Worth It” Carl x Reader, Negan x Reader

Word Count: 9,670

Negan x Daughter Reader, Carl x Reader

Summary: You’re Negan’s teenage daughter and from the minute you saw Carl, he sparked your interest, leading to a relationship between you two.

Warnings: Language, fluff, angst, mentions of death, kinda smutty 

A/N: Does not follow the show exactly, I had to change up some things for the sake of the story, but I tried to make it as close as possible.


Originally posted by lets-letmeimagine-posts

Originally posted by lets-letmeimagine-posts


He was the first person you noticed when you stepped out of that RV.

He was wearing a flannel and a cowboy hat, and even with one of his eyes covered up and it being dark out, you could see how bright blue they were. You didn’t know his name, but you certainly were attracted to him.

Your father, Negan, had told you to stay inside the RV while he went out there and talked to them. He had told you that he was going to kill one of them and that he didn’t want you to see that, so you needed to stay away.

“Y/N, I do not want to see you out there. Your ass better stay in here, alright?” Negan had warned you. You didn’t listen. You had heard him talking to their group, and you got curious. All you wanted to do was see what they looked like, nothing more. You opened the door slightly and peeked your head out, making the attractive boy turn his head and look at you. They all did, but he was the only one you noticed.

“Dear daughter, did I not tell you to stay inside?” Negan bellowed. You knew he was trying to scare the group- that was his way of being a big, bad leader. He intimidates everyone. And by the look of everyone’s face, they were definitely afraid.

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so I said something about mezato and takenaka having the eccentric shounen detective vibe and guess what

yep its an AU

in which mezato is an independent reporter who’s famous for not knowing what fear or common sense is when it comes to investigation, and takenaka is a telepath trying to stay alive

pointers under the cut

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Aang: This is a sacred temple! You can't treat it this way. I've seen it when the monks were here. I know what it's supposed to be like.

((istg the boys could be celebrating their 10 year anniversary and they’ll still say “remember when woozi cried during our first win ?”))

- admin leen