tbh i was going to ree watch the wholeee show again wren being ad or not bc we were going to have answers to all the questions like they said (i knew they weren't going to but at least the sara thing etc) but now? no fucking thanks. the show that started with ali's dissapearance just turned into a fucking weird ass family tree with the same stupid reason "you had the perfect life"but i must confess that Troian killed it she and Julian carried the show in their backs with that poor writing
Yeah I was going to rewatch too but there literally isn’t any point. Wren’s storyline wasn’t wrapped up at all so we can’t go back and realise what he meant when he said his father was in a place like Radley etc. We can’t go back to anything and have it make sense based on what we got in the finale.
Julian and Troian were amazing. I’m especially impressed with Julian. With what little opportunity he got, he made Wren an entirely different character. He was incredible.
well im watching bv2 now bc yesterday i was in the hospital almost dying, the usual, anyways, im screaming bc hoseok?????? look super stunning and perfect??????????? and wow im so shocked bc aaaaaah everything about him in hawaii is amazing by itself i mean hoseok is the most precious boy!!!! and with that bandana and his caramel and glowing skin is just too perfect for this world and his laugh just saved my life and cured all my ills!!!!!
the princess stayed in the tower and read books about better girls, where their hands learned how to hold swords, where they rode in on horses. i gave her books as often as i could. she devoured them.
her princes saw her and pretended to be scared off by dragons. got too lost in the thicket. didn’t want to handle it.
“tell me what it’s like, out there,” she whispers to me for the millionth time. i take her from The Throne into her bed, tucking her in and making sure her feet are covered.
“boring without you” i say as always, “but i did bring back a great story.”
i tell her about how the stars change beyond the equator. how there are places it looks like there are twin suns. how the desert crawls into you but so does snow. i talk about the taste of fruit and promise to bring her back some. she falls asleep while i murmur about rivers, and then in the morning i bring her from bed to Throne, even though she can do it on her own. sometimes she likes help, is all, and i’m happy to give it.
she doesn’t want help getting dressed. the men come for me, blindfold masters i have almost befriended. the path we take away from her is always different, carefully manufactured so i don’t know exactly where she’s located. after all, a lady might get ideas about things.
they let me go in the queen’s room. i report findings, ask for fruit in the next week’s supplies, am told not to spoil the princess, that she must be kind and waifish and wanting when the prince comes. i spend an hour suggesting that fruit might turn the blood sweeter and am allowed six oranges.
in the next week, she marvels over them. turns them in her calloused hands. smells them. holds them until she can’t control her curiosity, devours them. i bring her books about rivers. i bring her books about deserts.
“when is our birthday?” she asks me tonight. i’m knitting her a scarf for it.
“soon,” i tell her, “i’ll come by.”
she rolls onto one side, looks up at me in the dimming light. “I’m glad they chose you to be mine,” she says, and i drop a stitch. my heart sings against the inside of my wrists. i blow out a candle so she can’t see the blush and i can’t see her lips. i know what she means, i say. i know what she means.
it’s twenty-three for both of us. i bring her a cake we both eat, her on her throne and me on the floor. i am in the middle of laughing when she falls silent in the still night. “nobody else ever comes for me,” she whispers. i say nothing.
we have more cake, we go to sleep. i don’t know if she knows i’m awake, but i hear her crying.
the men come, the men take me. the one that smells like cedar always laughs at my jokes. the queen half-hates me because i remind her of “that nasty thing” they forced on their daughter.
“the left wheel needs oil,” i mention, “she’s having trouble turning again.”
the queen’s nose goes up. she never reacts when i mention her daughter’s wheelchair by name - doesn’t find it funny we call it a throne, thinks it’s well enough to leave alone.
“well, she’ll have a prince in this next month coming for her,” says the queen, “i’ve arranged it all,” says the queen, “he’s … had the situation explained to him first this time. i thought it would be best,” says the queen. “we’re paying him…. quite a lot for his effort,” says the queen.
situation. she means that her daughter can’t walk very far. she means the situation of towers. i excuse myself. i find my girl books about turning down marriage. i’m not sure why. it’s all she’s ever wanted.
they blindfold me and take me. cedar laughs at my jokes. the sawdust one is here this time, even he chuckles at a few. we ride horses through places i’ll never see clearly.
“so according to the queen this is the last time i’m needed, huh?” i ask them as they walk me blindly up too many stairs for my girl to make it down, “i’m sorry i never made your acquaintance.”
cedar laughs. he takes off my blindfold and for a second, lets me see his face. “it’s been an honor,” he says, shaking my hand, “you’ve been a perfect lady.”
i spend the day with my princess pretending i am not peeling apart from my bones. i just want her to be happy. to get to come home.
it’s late. “do you think in a past life i was a mermaid?” she asks.
“almost definitely,” i tell her.
it’s quiet for a while after. “what if,” she whispers, “i don’t want to leave?”
i sit up and look at her from across the room.
“it’s just,” she says, “i have you here and all the books i need and nobody makes me walk too long and i don’t feel like… like i’m wrong here.”
i want to tell her she’s never been wrong. that she’s always fit into my heart like a puzzle piece. that, more importantly, the leadership i see in her glows like a fire - that, no matter her body, she’s always been kind and gentle and smart and sweet. a princess that could bring a nation to her feet and do so lovingly.
“it will be okay,” i say, “there’s more fruit to discover.”
she doesn’t say anything. i think i’ve ruined something by accident, but i don’t know what. i don’t really sleep. i don’t say anything when the men come take me.
the world outside without her is boring. no mermaids. i put my hand in a river once a day, just thinking about her.
two weeks later i am awoken by my name, and a voice i recognize perfectly. cedar stands above me in the darkness. “i know two things in this world,” he says to me, “and one of them is about love.”
this time we make the trip without blindfolds. i see the squalor they keep her in. i see the waste surrounding her castle, the terrible place she’s in. rage fuels my footsteps even when they start flagging.
the prince is already there. he has dropped her twice, cedar tells me. i am already running up the stairs even though i can barely breathe. i hear her crying through the door and i don’t need to get ready - the fire that starts in me burns so brightly.
i roar inside. turn dragon and beat back prince with girl made rage. the bruises on her body turn me into giant snake. i eat the man alive, or at least i chase him from the place, never to be seen again. later i will hear a rumor about a demon that stole the princess from him.
she cries into my arms. i take her down every single stair. i hear her murmur her thanks into my hair and then i kiss her, because i can’t handle it, because i have places to show her and she has my heart to lead.
my house isn’t much but it’s near a river. she likes putting her hands into it. i take her places when she is able, and otherwise i bring the places back. we read books together. cedar no longer works for the queen, but he’d rather live with the man of sawdust making tiny wooden figurines.
i lie in bed next to her, stroking her soft hair. “do you think i was a centaur in a past life?” she asks.
“definitely,” i tell her, and kiss her, gently. she holds my face and pulls herself closer to me.
“will i be a good queen? i mean, in this life?”
“i’m certain of it,” i reply. i can hear the truth ring in it. the bone-deep certainty.
she’s quiet for a moment. “you saved me,” she whispers, “and usually we’d end up married. but…”
i don’t know how to answer that. i feel ice down my spine suddenly.
“i’m not demanding, is all,” her voice shakes, “i’m asking this time. for you to choose me. for me to be yours, i mean. and for you to be mine. permanently.”
the next birthday we celebrate, we are both queens.
Whiskey, my man!! My tadpole!! If you don't vote for Bitty and he doesn't become captain, and this goes for every single one of you tiny human beings, I will make it my mission to destroy your life.
Anyway who wants some leftover pie that Bitty made for us because he's perfect and deserves to be captain?
To all the writers who have ever been told they need to outline their story, and privately thought “Great. But how do you DO that? What exactly does that mean?! Is there a map? WHAT IS THE SPECIFIC DEFINITION OF THE VAGUE WORD ‘OUTLINE’?”
Good news. Stories have structure. Structure that can be learned. And a fantastic place to start learning structure?
Save the Cat: The Last Book on Screenwriting You’ll Ever Need by Blake Snyder. This book gives a simple outline that most stories follow. And as an introduction to story structure, it can’t be beat.
In Save the Cat, 15 plot points are spelled out in something called a beat sheet. During the outlining process, these “beats” or plot points can be used as an armature or skeleton that your story is built upon.
So what are those 15 plot points?
Opening Image: A snapshot of the hero’s problematic ordinary world, right before the story starts and changes everything.
Set-Up: Further establishing that ordinary world and what the hero does every day, impressing upon the audience or reader what’s wrong, and the idea that something needs to change.
Theme Stated: The truth that the hero will learn by experiencing the story, the statement that will be proven to the audience. But upon first encountering this truth, in this story beat right in the beginning, the hero doesn’t understand or outright refuses to believe it. The theme stated is asking a question, a question which the story will answer.
Catalyst: The ordinary world is shattered. Something unexpected happens, and this event triggers all the conflict and change of the whole story. Life will never be the same after this moment. This is the Call to Adventure.
Debate: But for a moment, the hero won’t be quite sure about answering that call. Leaving behind the ordinary world is difficult – even if the catalyst has come along and disrupted everything – because the ordinary means safety, it means not being challenged, it means avoiding conflict and heartache. Yes, that existence they’re stuck in might be stagnant and unpleasant, but it protects them from facing the intimidating task of growth, of becoming something better.
Break Into 2: And this is when the hero decides to answer the call and cross the threshold of act two, determined to pursue their goal.
B Story: This is when the relationship – which usually carries and proves the theme – starts in earnest.
Fun & Games: This is just what it says: the premise promised a certain type of pure entertainment, and this beat is where we get to experience it fully.
Midpoint: This is either a false victory or a false defeat. Something really really good happens. Or something the exact opposite.
Bad Guys Close In: Forces of opposition and conflict begin to converge on the hero and his goal. Everything begins to fall apart for the hero, the defeats piling up one after another, the main character punching back.
All Is Lost: This is the sequence where absolutely everything falls apart for the hero. The plans fail, the goal is lost, the mentor dies, the villain wins. All is, quite literally, lost.
Dark Night of the Soul: The hero’s bleakest moment is right here. In addition to all of the tangible things that have been lost, hope and the gumption to continue with the story have also vanished. There is usually a hint of death here, of some kind. An actual death, or an emotional or spiritual death.
Break into 3: Ah, but there’s a light at the end of the tunnel. Inspiration occurs, hope is rekindled, courage to pursue the story returns. Usually, this is the moment where the main character learns what they NEED, the truth which will heal them, and allow them to fix their own lives. With this, they are able to snatch victory from defeat.
Finale: And in here, the story goal is pursued once more, but this time from the stronger version of the hero – the version that has learned the theme, and committed to act accordingly.
Closing Image: The opposite of the opening image. This is a snapshot of life after the story, the problems of the ordinary world solved or banished, a new world opening up for the hero. If the opening is the equivalent of “once upon a time” this is saying “And every day after … “
So let’s see how that works! And to see it, let’s look at my favorite short film of all time – Paperman (because this gave me an excuse to watch it several times and listen to the music while writing it.)
1) Opening Image
We see George, a twenty-something in a sixty-something’s suit and tie, obviously on his way to work, and not looking at all enthused about it. He stares straight ahead, expression bored, lifeless, right on the edge of depressed. Wind from a passing train pushes him slightly, and he lets it, demeanor unchanging.
But then a sheet of paper, caught on the wind, hits his shoulder. The paper flies off again, and a young woman appears onscreen, chasing after the paper, as the surprised George watches.
After catching it offscreen, the girl returns, tucking the paper into the stack she carries, smiling slightly. They both face forward, waiting for the train side-by-side, in silence. She’s glancing sideways at him, he’s smiling and fidgeting nervously, but still resolutely facing forward; they’re both aware of each other, seemingly hoping the other will be braver, but neither able to overcome their shyness and the unspoken rules of everyday life.
3) Theme Stated
As a train charges into the station, a paper from George’s stack is snatched by the wind and lands flat on the woman’s face. When he pulls the paper away, she laughs: her lipstick left a perfect kiss mark on the sheet. When George spots it, he laughs too …
but when he opens his eyes, she’s gone. She’s boarded a different train. The kiss-mark paper flaps in the wind as the train begins to move, taking her away. He watches, crestfallen. She glances back. Looks of regret and disappointment are exchanged, both a little wistful. The paper, the symbol of their fleeting memorable meeting, waves goodbye.
Through this little sequence of images, the question of the whole story is asked: Was there a connection between them? Will they find each other again? And on a wider level: What does it take to find love?
And cut to George behind a desk, in a gray office, dark file cabinets towering behind him, clocks on the wall ticking away his life. Miserable again, he stares at the lipsticked paper. A stack of documents slams onto the desk from on high. The grim-faced boss of the office scowls down at him. George frowns at the stack, then at his boss, who stomps away.
Breeze pulls the kissed paper off his desk and out the open window. He catches it just in time, breathing a sigh of relief. And then he sees something. The girl! She’s there! She’s right across the street!
He needs to get her attention! He dithers for a moment, then throws the window wide and enthusiastically waves his arms.
An ominous "ahem” from the boss brings him back inside, and back to his desk. But his attention is still on the girl, and the need to get her attention. He folds a paper airplane, stands before the window, poises the airplane to fly … but he glances at his boss’s office before he throws it. Should he?
6) Break Into Act 2
Yes. Yes, he should. He sends the little airplane messenger to bridge the distance between himself and the girl.
7) B Story
What he should have done while waiting for the train, he’s committed to do now. Talk to her. The relationship of the story has started officially.
8) Fun & Games
In this moment, he becomes the “paper man” of the title. He folds and throws paper airplane after paper airplane. The boss shows up, shoves him back and slams his window. George pauses until he’s gone, then just keeps sending airplanes. They sail over the street, but are intercepted or miss their mark every time.
He reaches for more paper … and knocks an empty tray off the desk. He’s run out. Except for one paper, the kissed one, the only one he’s held onto. With a determined look, he folds it precisely into an airplane, stands before the window, breathes to steady himself …
And the wind steals the airplane from his hand, sending it spiraling to the street below, George reaching out pointlessly. On top of this defeat, the girl leaves the office.
10) Bad Guys Close In
Immediately, the boss emerges from his lair. The other office workers hurriedly return to their scribbling, hunched to avoid drawing attention. The girl is leaving the building across the street! George turns from the window … and finds the boss looming above him, glowering, delivering another tall pile of meaningless work.
George sinks into his chair, defeated. But something happens as he watches his boss walk away, as he sees the office workers in neat rows; all of them older versions of George, reflections of what he will become … if he doesn’t do something right now.
He runs, sending paper from the perfect stacks flying in his wake.
11) All Is Lost
But when he escapes the building, and attempts to cross the street, cars nearly kill him. And when he finally makes it to the opposite sidewalk, the girl is nowhere in sight. She’s lost again.
And all he manages to find is the little traitorous paper airplane. The paper he’d believed might mean something, might have signified something important and maybe a little magical. Which it obviously never did.
12) Dark Night of the Soul
Angry, he grabs the plane and throws it with all his strength. He’s lost his job, he’s lost the girl, he’s lost all faith in the magic he’d just started to believe might be real. He stomps towards the train station, returning home.
13) Break Into 3
But fate has other plans. The airplane glides over the city, almost supernaturally graceful and purposeful. It dives between buildings, and lands in the middle of the alley where all the paper planes have collected.
It sits immobile. Then it moves. Moves again. And jumps into flight. The airplane flies over the rest, stirring them into motion, into the air. In a place where not even a breath of wind could reach, there is now a whirlwind of George’s airplanes.
Though the forces of mediocrity tried to keep them apart, something greater has recognized George’s efforts and is going to see things through.
A parade of airplanes follows George down the street.
The leader attaches to his leg. He brushes it off, mad. A flurry of them attach to him, then carry him down the street, unfazed by his fighting.
The leader airplane rockets over the city purposefully, finds the girl, then lures her to follow.
She chases after.
Somewhere else in the city, George is being pushed wherever the paper airplanes want him to go. We switch back and forth between George and the girl, as the airplanes push him and beckon her.
Until they’re both on different trains, which stop simultaneously, on opposite sides of the platform. The girl gets out. She fiddles with the airplane, like she’s trying to get it to work again. And just then, a breeze brings hundreds of paper planes skittering all around the platform.
She looks up …
15) Closing Image
And there’s George, covered in paper planes.
He lurches towards Meg, and the airplanes falls away, their work done.
George and Meg face each other, smiling, the barriers of routine and shyness overcome. Exactly what should have happened, exactly what was meant to happen. Putting effort into connection and love prevailed in the end, defeating the allure of life spent in safety and mediocrity. The closing image is the opposite of the opening: he’s not alone, he’s not facing the train leading to his mundane job, he’s not looking miserable and hopeless. He’s facing the girl, his bright and meaningful new future.
So! Those are the 15 plot points. This is a fantastic way to begin learning what story structure is, why it works the way it does, and how to precisely pull it off.
For a more in-depth explanation, I highly recommend picking up a copy of Save the Cat. (It holds a special place in my heart; it was the first screenwriting book I ever read, and started obsessive study of storytelling.)
Why I hope Elriel is just a friendship, nothing more:
As Mor said- Azriel deserves better.
He’s pined after a female he can never have for five hundred years. When he finds out, it’ll rip his heart out.
Azriel deserves more than another male’s Mate. Even if it turns out Elain and Lucien aren’t perfect for each other- even if it’s one of those failed chances of fate. He’s loved too quietly and too fiercely for too long. His life has been too wretched to not have the perfect happily-ever-after.
He deserves a Mate of his own, not the Mate of another. He deserves what Rhys found with Feyre, what Cassian will find with Nesta, and what Amren might have found with Varian.
Nico is the type of person who is too lazy to step into the shower but refuses to get out soon after because he ends up enjoying it way too much
He owns like fifty of the same kind of jeans and shirts.“Nico, you’ve been wearing that shirt for three days” “No, I don’t”
In addition, he also have the same kind of shirts but on different yet almost identical shades of black. “Weren’t you wearing that yesterday” “No, that shirt is onyx. This is jet black”
He wears socks in his sleep specially during winter but always, always wakes up already not wearing them having subconsciously taken them off during the night.
He likes to drink really icy cold water.
He has a collection of pirate films and had already thrice watched the whole Pirates of the Caribbean franchise in one sitting. He already plan on a fourth one but now with Will.
Any overly too strong perfume scent makes him sneeze a lot. That’s exactly why he avoids the Aphrodite cabin like a plague. No, it’s not because of his love life but really let people think what they want.
Special talent? He can wiggle his ears. Will is the only other person to know and the son of Apollo can’t tell anyone else. Ever.
He actually knows how to do perfect braids, something Reyna found out when he helped with hers. It was a result of having practiced with Bianca’s hair back when they were in the casino.
He doesn’t have a bad angle and always looks good in every photo taken of him. Like how?
He’s the only one so far, aside from the other Athena kids who had actually won a game of chess against Annabeth.
He taught Will how to slow dance during one of their supposed outdoor date but having it ending up in the Hades cabin because it began raining. They danced it during their wedding.
He’s actually the one who had initiated the first kiss between him and Will. It was when the other had been gushing way too much on an injury he got during capture the flag and he simply had to shut the other up.
The kiss was brief, barely lasting a second but it did serve it’s purpose.
In exception to one Will Solace, he still feels uneasy with being touched and hugs still makes him a bit uncomfortable but the ones he initiates and the ones he reciprocates are the most comforting ones ever.
aquiver (adj.) [uh-kwiv-er] in a state of trepidation or vibrant agitation; trembling; quivering
• pairing: min yoongi x
reader • genre/warnings: mature
themes, talk of masturbation, smut, language, some type of fluff • words: 10,909 → summary: Yoongi can’t
remember the last time he was able to successfully bring himself to the point
of orgasm, then Namjoon gives him a business card advertising ‘Healing Hands’,
and that’s where he meets you; pretty and innocent looking, who gets paid to
provide hand jobs for a living… • note. inspired by the
novella ‘The Grownup’ by Gillian Flynn, literally just the character’s past
Summary: After returning to New York, Tony is greeted with surprising news that has potential to change his life.
A/N: another one from draft-purgatory. lol i’ve never written for tony stark, and i i struggle to capture his swaggering tone. however, but i thought it would be fun to write for a slightly softer tony stark.
His elbows resting on the metal railing surrounding the large helicopter landing pad, Tony Stark skims his eyes over the beautiful aerial view of Manhattan. A relaxed smile perks onto his lips as the familiar clamor of the concrete jungle sinks in. “It’s good to be back,” he hums to himself, taking in the majestic view carved around the Avengers Tower.
After rapping his knuckles against the metal railing, Tony saunters down the glass walkway leading into the tower, the eery silence reminding him that everyone is on a mission. He’s about to greet F.R.I.D.A.Y. when a smile enters his view, one that he isn’t expecting.
She sits on the counter of the bar, her legs elegantly crossed despite the restrictive nature of her pencil skirt. The sunlight streams into the room through the glass windows, creating a natural glow about her. A coy smile perks onto her lips as Tony’s drinks her in, his lower lip getting caught between his teeth as his eyes dance up her legs and body. She’s the most alluring girl he’d ever seen -he’d thought so two years ago when they first met, and he still thinks so now- and it’s one of the many reasons why he’s infatuated with her.
“I thought I told you not to wait for me,” He grins, glad that she ignored his request.
“I couldn’t wait until dinner, and I wanted to be here when you arrived. Is that such a crime?” (Y/N) hops off the counter and saunters towards him. She cups his cheek in a way that makes Tony feel like he’s the only person in the world.
“Well, counselor, I recommend -” His words are cut off as (Y/N) yanks the lapels of his jacket to bring his face towards her for a kiss. Tony laughs against her lips, but the laugh quickly gets drowned out by a rough growl as she lightly bites his lower lip. A smile creeps in around the edges of her kiss as she slides her hands down his muscular back. A nip of teeth, a glide of tongue, and she easily has him under her spell.
It’s only a matter of time when the need for oxygen brings the kiss to an end. Tony gently knocks his forehead against (Y/N)’s. “Remind me to always bring up a counterargument, because baby, I could get used to that,” he drawls.
(Y/N) laughs, a devilish glint lighting up her eyes. “Welcome back to New York, Mr. Stark. It’s been a while.” Her hand dangerously inch south as she brings his ear to her lips. “That was a little preview of what’s going to happen tonight.”
He feigns exasperation as (Y/N) playfully smacks his ass but twirls out of his arms before he can do anything. A low noise escapes his throat as she shoots him a sexy smile over her shoulder while kicking off her “ball-busting stilettos”, as she calls them.
Tony leans against the wall and watches (Y/N)’s shadow dance in the glow of the sun. Two years into the relationship, and he still gets butterflies. His fun, beautiful girlfriend, the skyline of the most magical city in America, wonderful weather - his life is perfect and Tony wishes it would stay this way for a long time.
“As much as I love pencil skirts, I need to change,” (Y/N) announces. “I have workout pants in my bag, but could I borrow a shirt or sweater?”
“Baby, at this point, you’ve stolen over half of my comfortable clothes. Why do you even bother asking?”
(Y/N) smirks and plants a kiss on his cheek before sashaying towards the door of Tony’s private apartment. Before she opens the door, she turns to him. “T, I have something to tell you.“
"Mmhmm,” Tony hums, pulling out his phone from his pocket.
“I probably should have told you, but I was kind of scared of how you would react. I thought it would be wise to tell you when you were back in New York.” She hesitates for a bit, her fingertips drumming against the doorframe. “Promise not to freak?” she asks, a slightly icy look glazing her eyes.
A small alarm rings in his head, but Tony maintains a calm expression. “I promise. Did you max out my credit card?” he jokes.
(Y/N) rolls her eyes but relaxes a bit, which pleases Tony. “No, and I never will.”
“My wallet thanks you, baby. But what’s up?”
“Tony.” She swallows. “How do you feel about becoming a dad?”