i can't get enough of this world

Deep Ass Starters.
  • Sometimes it's hard to get in depth with your muse and their backstory, because you can't figure out how to bring those things up with others. Here are a couple of starters intended to make things a little more personal!
  • "What's holding you back?"
  • "I'm not comfortable with this conversation."
  • "Will you /ever/ be comfortable with this conversation?"
  • "Let me in sometime!"
  • "It's not that easy, you know."
  • "Help me understand."
  • "It's hard to connect with someone when all they do is push you away."
  • "Why are you always so cold?"
  • "Why are you always so happy?"
  • "Are you really happy now?"
  • "Who hurt you this badly to make you this way?!"
  • "What, did your ex mess you up that badly?!"
  • "Why do you keep fighting it any time you feel?"
  • "It's a problem, I get it."
  • "This is all kinds of messed up."
  • "That's not exactly a good coping method."
  • "So what happened, with your parents, really?"
  • "What was your childhood like?"
  • "Everyone has at lest a little bit of mommy/daddy issues. It's nothing to be ashamed of."
  • "My parents aren't exactly perfect models, either."
  • "You were bullied? What for?"
  • "Was it hard? Coming out, I mean."
  • "You can't just run away all the time."
  • "You can't just hide all the time."
  • "Are you still thinking about them?"
  • "I'm not the enemy here. But this makes me wonder who the real one is for you."
  • "Is the reason you're so cold and defensive because you feel threatened?"
  • "How long has it been since you last spoke to them?"
  • "You never talk about it, why?"
  • "How come you're so different around them?"
  • "It's like you don't have a care or worry in the world."
  • "You seem so perfect. I don't get it."
  • "What was your ex like?"
  • "I don't think I was ever good enough for them."
  • "Are you not comfortable being intimate?"
  • "Why don't you feel comfortable being intimate?"
  • "Letting someone see you that vulnerable, it's a scary thing."
  • "Are you scared of being hurt?"
  • "Have you ever been taken advantage of?"
  • "Why are you afraid of saying I love you?"
  • "I never understood how someone could say those words so easily."
  • "You're hurting others the way you've been hurt in the past, don't you think that's ironic?"
  • "You use people to make yourself feel better."
  • "I'm scared of being used again..."
  • "Losing someone isn't easy, but you're making it harder than it needs to be."
  • "How long has it been since you lost them?"
  • "You're too attached."
  • "I'm not attached, I'm just comfortable with what I'm familiar to."
  • "Maybe the real reason you're so controlling is because, deep down you'd rather have them in your grasp than lose them."
  • "Why did you ever break up?" / "Why did we ever break up?"
Stuff My Mom Has Told Me During Hamilton (Act 2)
  • What'd I Miss: "Where'd his accent go?"
  • "That's Thomas Jefferson mom."
  • "No that's Lafayette."
  • "Same actor. Different character."
  • Cabinet Battle #1: "Why can't the debates be like this?"
  • Take A Break: "....where the fuck is Peggy?!"
  • Say No To This: "That God damn note what in the shit?!"
  • The Room Where It Happens: "So is Burr like, the person who tries too hard to be cool? Also there was three so what does he mean he arranged the seating?"
  • Schuyler Defeated: "Why do half these songs start the same?"
  • Cabinet Battle #2: "Fourth wall break!"
  • "What?"
  • "They mentioned Lafeyette! Fourth wall break!"
  • "Mom, same actor, different character. Lafayette and Thomas knew each other."
  • "Not important."
  • Washington On Your Side: "I've never been so ready to drop kick someone."
  • *Casually scoots away*
  • One Last Time: "Alex has such daddy issues..."
  • I Know Him: "I had actually forgotten about the King..."
  • "How?"
  • "I don't know! I thought he died!"
  • The Adams Administration: "This song is so short."
  • "It's not the full bit."
  • "What?"
  • *plays full one*
  • "Alex has a lot of anger issues."
  • We Know: "Wait - why do Jefferson and Alex hate each other so much? Is that sexual tension?"
  • "Mom..."
  • Hurricane: "You know I was in a hurricane once..."
  • The Reynolds Pamphlet: "Wait why do the three sound shocked? They already knew! They read it as if they hadn't!"
  • Burn: "Hello tears I forgot about you..."
  • Blow Us All Away: "I forgot they had kids...wait wasn't he just nine?"
  • Stay Alive (Reprise): "My God...you ever try and take a gun to fight someone and I may just kill you."
  • "That is /not/ the point of this song."
  • It's Quiet Uptown: *she just refuses to stop hugging me*
  • "Mom...please..."
  • "Shhh let me show my love..."
  • "Mom your tears are in my hair!"
  • The Election Of 1800: "What the shit?! Stop having depressing songs then a fun one!"
  • "Please let go of me..."
  • Your Obedient Servant: "This is so passive aggressive..."
  • Best Of Wives And Best Of Women: "This sounds so cute but...it's so sad?"
  • "Have you learned nothing throughout this?"
  • "...I want to hate it. I can't."
  • The World Was Wide Enough: "He...does know when people get older they need glasses right? Glasses don't mean murder. Otherwise you and your four eyes would be killing every day!"
  • Who Lives, Who Dies, Who Tells Your Story: "That's Washington! I recognize that voice! It's so deep and sexy!"
  • "Mom this is an emotional song."
  • "I know! That voice deserves more action!"
  • "Mom..."

prongswhatthefuck2  asked:

What are some good tips for getting started with writing a book? I have a concept but i can't put it into place.

Getting Started with Your Story

There’s no one way to start writing a book. For some people, it’s enough to just jump in and start writing to see where the story takes them. If you’re not too keen on that idea, then here is one process (as in, not the only process) that might help you move beyond your concept. 

  • Concept ≠ Plot

Many writers mistake concept for plot, but they’re actually two very different things. A world where everyone grows up with superpowers is a concept; the plot is what you decide to write about within that concept - the specific characters and what happens to those characters; who your antagonist is and what conflict arises when that antagonist goes after what they want. All of these things contribute to your plot. 

So first, define what it is you actually have at this particular point. Do you just have a concept? If so, you’ll need to take the necessary steps to develop that concept into a plot. 

  • Concept >>> Plot

If you’ve decided that all you really have is a concept, then how do you take it and turn it into a plot? You brainstorm. All brainstorming really amounts to is expanding your ideas. All you’re doing is asking questions about the concept and delving deep into the answers. 

The most simplistic way to start this process, especially if you’re struggling, is to ask one of two questions (or both, if applicable). These two questions: What could go wrong? What could go right?

Going back to my example about a world where everyone grows up with superpowers. If I were to ask the question “what could go wrong,” I’d end up with a whole list of possibilities. 

  • The powers suddenly disappear
  • People start abusing their powers
  • Someone figures out how to steal powers
  • A hierarchy of strong vs. weak powers develops, creating superiority/inferiority dynamics
  • Someone is born without a superpower

There are many more possibilities I didn’t even think of here, but any one (or more) of these could become a plot. Choose one that sounds interesting, and then ask yourself “and then what?” 

Say I choose: Someone figures out how to steal powers. Then what does that person do? Do they recruit people to do the dirty work for them? Do they work alone? Do they hoard these powers and barter them for other goods? Do they attempt to enslave people? Do they attempt to take control of institutions? What do they do?

Your goal is to take your ideas and turn them into actions taken by characters. People doing things. And each piece you add will usually lead into another. If you went with the idea that this character is stealing powers and essentially selling them for other goods, you’d have to ask yourself follow-up questions. First, who are they selling to? Why would anyone buy a new superpower if they already have one? What uses would they have for additional ones? What is the key demographic that this person is trying to reach? Secondly, what are they selling them in exchange for? Money? Favors? Souls? What is this character getting in return?

Now that you’ve examined potential actions that the character takes, you’ve also exposed potential new characters. 

  • People they’re stealing from
  • People they’re bargaining with
  • People that try to police these crimes
  • People that try to copy this character’s process

At the beginning of this section, I talked about using “what could go right” as another optional jumping off point. This is a good path to follow if your concept is already really negative. For a concept where someone is killing people for some pointed reason, you might ask “what could go right” and explore ideas where the killer is caught and brought to justice. 

The point of all this is to think about change as a means of taking your idea from concept to plot. A concept is static - it doesn’t move, evolve, or change. By developing a plot, you’re forcing the concept to be challenged in some way. If you think about it that way, you’ll be able to formulate conflicts, and the people that orchestrate and fight against those conflicts. 

On that note, I think we’re ready to move onto the third piece of my graphic above. 

  • Plot = Character Actions and Consequences

At this point, you have sketches for characters. You’ve got this nameless, faceless person that is stealing the powers, and all these other nameless, faceless people that I listed above. In essence, we have character concepts. And just like we turned our initial concept into a plot, we have to turn these character concepts into actual characters. 

The basics are the easiest way to start. You figure out their name, their gender identity, their age, their appearance, some brief backstory and personality traits. I personally prefer the simplest questionnaire that I put together back in the early days because it hits on the poignant pieces of a character without overwhelming you with 100s of questions. 

Now that you’ve given your character concepts names and faces and potential behaviors, you start to consider how one character’s view of the world inspires them to take certain actions, and you then think about how those actions affect your entire story. 

We already kind of talked about the motives of the power thief in our example, but definitely delve deep here. On the surface, this character seems bad - stealing from people and then selling what they steal. But depending on what it is they’re getting in return, could we not argue that this character is a supernatural Robin Hood? Maybe instead of selling, they’re giving, and maybe the characters they’re stealing powers from are people that abuse and misuse their powers. Character motives can take a plot and turn it on its head, forcing you to reconceptualize everything. And that’s okay! That’s part of the process.

But separate from that idea, if we have a character concept of someone whose powers were stolen, and after developing their basic backstory, we discover that person’s name is Rose, and she has an especially close relationship with her brother. So when her powers are stolen, how does this affect her life? Was she using her powers to keep her brother alive and protected? What she using them to keep a roof over their heads? Was she using them as part of her job, as a means of providing? What happens to her life when her powers are stolen? And what will Rose do about it? Whatever Rose does will impact the story. If she does nothing to get her powers back, how does she solve her problems and does that make for a good story? If she does decide to act, then you’ve moved onto a new plot point to dive deeper into.

My point is, character concepts come from plots, but characters themselves often create plot, as their decisions and mistakes and successes create new outcomes. So if I could modify my original flow chart:

Before you develop something, you conceptualize it. You have a concept, then you make it a plot. You have concepts for characters, then you make them characters. And those characters end up driving your plot, to the point that this happens:

Plot inspires character. Character inspires plot. And it just keeps going around and around and around. Breaking it down into these pieces helps organize the process, but developing a story is rarely this neat and tidy. You’ll get ideas that don’t make sense, ideas that aren’t cohesive, characters you don’t need, characters that piss you off, problems you can’t solve, or plot points you’ve committed to that you no longer like…it will be messy. But it’s your mess, and the more you work on developing your own process, the more it’ll make sense to you. And it’ll become easier to know how to go about fixing it when something’s not right. 

Have fun with this process! It’s supposed to be fun. When the pieces start to become clearer, you’re able to put them together in a rough outline. And once you have a rough outline, you can start writing, and really see it take shape. 

-Rebekah

(80s) Bad boy Kuro, (80s) dancer Lance.
for @jupitertriton 💙💜

   Lance opens the door with a frown already formed on his gorgeous face.  Kuro looks at him and immediately wishes he could have the other’s permission to soothe that expression away with gentle fingertips.  He doesn’t ask for it, though, because he knows he fucked up.  Lance has every right to be upset.

   “Can I come in?”  He tilts his head to the side rather sheepishly.  With that movement shadows cast over his face that the dim light of the hall doesn’t bother dissipating.

   “It’s 5am,” Lance says, still not stepping aside to leave enough room for him to enter the small flat.  The frown on that gorgeous face deepens.  

   Kuro’s lips itch to place kisses on the now furrowed space between Lance’s elegant eyebrows.

   “I know,” he says, fidgeting a little under that electric blue stare, “I’m sorry.”

   “That’s too vague,” and now Lance shakes his head, a resigned expression crossing his features before it settles on acceptance, “but I guess that’s all I’ll get from you now.”


   With that, Kuro watches Lance turn away and walk the small distance from the main door to the kitchen.  The robe he’s wearing is thick enough not to be translucent but thin enough to leave little to the imagination.  Yet it’s not Kuro’s flesh that craves for the other man.

   It’s Kuro’s heart.  It’s Kuro’s mind.

   He allows himself in and closes the door behind his back, locking it.  Both of them know he won’t be leaving well after the later hours of morning.  Following motions that by now were so ingrained within him, he takes off his heavy leather jacket, not bothering to hold back his pained wince, before hanging it on the single hook nailed to the wall.  With Lance he has nothing to hide.  This is his safe haven.

   It takes him three short strides to get to the small old couch and then he plops down on it gracelessly.  He throws his head backwards, closes his eyes and-waits.  Allows himself a moment of relaxation.  Willingly puts himself in Lance’s trusted hands.


   He was perhaps falling asleep already when the other is back with him.  Kuro blinks away the heavy embrace of a dreamless slumber and lowers his head to watch just in time the moment Lance sits by his side on the couch, on his lap the by now well known first aid kit, on his hand a towel dripping with cold water, who knows how many ice cubes trapped within.

   “You are an idiot,” Lance tells him, and it makes Kuro smile despite his split lip.  He cannot help it.  Lance means so much to him.

   “I am,” he agrees easily, hissing as the other man presses the towel to the nasty bruise forming above his eyebrow.

   Blue eyes soften as they wash over him with a gentle gaze.  Kuro lifts his not bruised hand to hold the towel in place, letting Lance continue to look after whatever damage he’d manage to impose upon himself again.

   “But you’re my idiot,” the shorter man says, opening the box with the medical supplies to take out a roll of clean bandages.

   “Yes,” Kuro replies proudly, “I am your idiot.”

You hear it now too, don’t you? The song is now yours, just as the story has always been yours. And with this final piece, your understanding of these impossible events is complete. Like I said before, you’re ready now. Darkness surrounds you, but be not afraid. After all, you’re going to win. We know that much. But that is the limit of my knowledge. You’re all caught up now. Whatever happens next, well, we’ll just have to find out… Together
—  Griffin McElroy

anonymous asked:

I don't want to support racists at all, but I just can't get behind the idea that if someone is peacefully talking, it's okay to beat them, maybe even to death, as long as their views are vile enough. Maybe I'm on the opposite end of Twitter etc from you, but I'm hearing a lot of "punch Nazis or else you're a Nazi supporter" and I can't agree that. (World War II was fighting a war, which is different from brutalizing someone for talking or marching, even if they're doing so to support racism.)

So I have a lot of different perspectives here, none of which fit very well with each other.  This is an issue that brings a lot of my principles into conflict.

1. I believe that justice should operate according to rules and limits.  It should look like “you committed theft, therefore you must return $X to your victim and perform X hours of community service”, not like “you committed theft, therefore you’re A Thief and should be made to suffer.”  I think it’s abhorrent when police beat suspects or prisoners are abused in jail, even if they’re guilty as sin, because cruelty is not justice.

While emotionally I’m not always on board with this, philosophically I think that the concepts of “bad person” and “punishment” are dangerous and toxic, and that it is never okay to declare that a person is so bad that they’re fair game for anything you want to do with them.

2. I believe that it’s better to be the winner than the sympathetic loser.  This is something that seems to come up in a lot of conversations about Nazi-punching–the idea that it’ll make them look like the victim and thereby win public sympathy.  I’m not on board with this being a major concern.  Yes, victimhood can confer some kinds of PR/psychological advantages–but not nearly as many as power can.  Ditch the reverse psychology and when you’ve got an opportunity to win a battle by winning it, go for it.

3. I believe that Nazis aren’t the biggest threat out there.  Yes, it’s disturbing that there are any out on the streets or the Internet, and it’s really disturbing that the Trump administration seems to want to play footsie with them, but in terms of numbers and political power they’re definitely still on the fringe.

And meanwhile nice normal non-swastika-waving politicians are taking away healthcare from nine million children.  Why aren’t we discoursing about punching them?

4. I believe that social messages are powerful.  That is, the best way to win people away from Nazi sympathizing isn’t always rational argument–sometimes it’s making the Nazis look pathetic and unpopular.  We want to send the message “society doesn’t want these people” loud and clear.  A swift punch to the nose will do that.  It may not be a logically sound argument, but if it stops people from thinking Nazis are cool or tough, it’s a good thing.

5. I believe that it’d dangerous to create acceptable targets.  If it’s okay to punch Nazis, what stops someone from saying “my enemy is like a Nazi” or “they’re a secret Nazi” about someone they just really want to punch?  We’ve all seen things like this happen before.

6. I believe at some point you have to separate right from wrong.  It’s really appealing to want totally generalizable ethical principles like “all speech should be free” and “never use violence except for physical defense.”  It makes us feel safe to have no exceptions–it frees us from fear that tomorrow it’ll be our speech that’s considered hate speech.  It feels right and fair.

But sometimes you do have to set some standards.  You do have to be unfair and say “it’s okay to have magicians at birthday parties but it’s not okay to have rabid raccoons.”   Instead of avoiding all judgments that one thing is better than another, we have to make them correctly.  Stop saying “no group is inferior” and get the courage to say “actually, some groups are inferior, such as goddamn Nazis.”

7. I believe that punching Nazis is not really an important discussion.  It’s mostly just tough guys on the Internet going on about how tough they’d hypothetically be.  Whatever.

Of course, I’ve also gotten in long discussions about whether Simba and Nala are related or what, so who am I to say we should only talk about important things?

8. I believe that punching Nazis is going pretty easy on them, considering.  I’m Jewish.  Part of my family is from Germany, part from Poland and Hungary.  One of my grandmothers had permanent eye and heart damage from untreated illness during the Holocaust.  She was also beaten, her father’s business destroyed, and her grandfather shot.  My grandfather’s brothers and sisters were all murdered, and we’re still not totally sure when or how, and will never even know where their remains are.  My other grandmother didn’t talk much about what happened to her during that time, but she was missing a fingernail.

And Tumblr wants to clutch their pearls about whether it’s okay to give these people a bruise?

For @twatcitytrick who deserves something that makes her happy.


Aaron sees a lot of different people in his shop. 

People looking for the latest release from the latest X-factor winner. People looking for obscure death metal from Finland. People looking to branch out, listen to something alternative and spacey. Even people looking for the odd classical album, or the old-school vinyl collectors. 

But Aaron hasn’t seen anyone like this in the shop before.

Clearly rich, well dressed with that arrogant air and way of walking. Also, quite clearly confused. Like a deer stuck in headlights. Lost in a sea of good music. Aaron can just about guess what he’s looking for. 

Keep reading

but-i-m-a-unicorn  asked:

Hello Cassie! You are my favourite writer in the whole world and I am really excited for the Lord of Shadows release, because your writing, storylines and twists make my heart desire to consume the pages of each and every book of yours. They have and still do help me through dark times and I can't thank you enough. Anyway my question is if we will see any more of Will Herondale? Thank you in advance! Stay awesome!

Definitely, as he’s the father of two of the protagonists of Last Hours! You get to see him as a hot older guy if you’re into that. :)

The Signs As Jack Handey Quotes
  • Aries: "After I die, wherever my spirit goes, I'm going to try to get back and visit my skeleton at least once a year, because, "Hey, old buddy, how's it going?""
  • Taurus: “The tiger can't change his spots. No, wait, he did! Good for him!”
  • Gemini: “Sometimes I wonder if I'm patriotic enough. Yes, I want to kill people, but on both sides.”
  • Cancer: “I hope if dogs ever take over the world, and they chose a king, they don’t just go by size, because I bet there are some Chihuahuas with some good ideas.”
  • Leo: "I wish outer-space guys would conquer Earth and make people their pets, because I'd like to have one of those little basket-beds with my name on it."
  • Virgo: "Just as bees will swarm about to protect their nest, so will I "swarm about" to protect my nest of chocolate eggs."
  • Libra: “I think a good novel would be where a bunch of men on a ship are looking for a whale. They look and look, but you know what? They never find him. And you know why they never find him? It doesn’t say. The book leaves it up to you, the reader, to decide. Then, at the very end, there’s a page you can lick and it tastes like Kool-Aid.”
  • Scorpio: "The first thing was, I learned to forgive myself. Then, I told myself, "Go ahead and do whatever you want, it's okay by me.""
  • Sagittarius: "You can't tell me that cowboys, when they're branding cattle, don't sort of "accidentally" brand each other every once in a while. It's their way of letting off stress."
  • Capricorn: "I guess the hard thing for a lot of people to accept is why God would allow me to go running through their yards, yelling and spinning around."
  • Aquarius: “We tend to scoff at the beliefs of the ancients. But we can’t scoff at them personally, to their faces, and this is what annoys me.”
  • Pisces: "Instead of putting a quarter under a kid's pillow, how about a pinecone? That way, he learns that "wishing" isn't going to save our national forests."
unspoken fears
  • Aries: "I'm so rough and crazy, will anybody ever handle me and still love me?"
  • Taurus: "I have everything I want but I can't find why I still feel empty."
  • Gemini: "I'm going through so many thoughts to find the right one and I'm scared of getting tired of trying."
  • Cancer: "My emotions go up and down and all over the place and I'm scared of drowning in them."
  • Leo: "If people don't tell me I'm worth it, am I still worth it?"
  • Virgo: "There are so many details and reasons why I don't deserve praise even though I work so hard for it."
  • Libra: "I wonder if the love I find on the outside will calm the inner storm on the inside."
  • Scorpio: "Just because I am in tune with the darkness doesn't mean people will come in and stay in the darkness with me... and that scares me."
  • Sagittarius: "I know that I can run from my problems during the day, but I can't hide from them at night."
  • Capricorn: "I fear that my work, sweat, and tears are never going to be enough."
  • Aquarius: "I can get people to work happily together, yet I still feel like an outsider."
  • Pisces: "The world is beautiful and cruel, and I'm scared of what I'll exactly pay when I choose to put on the rose-colored lenses."

I love that Parker and Sophie were clearly talking at least a little after they scattered post-season 1, because Parker knew about the boyfriend. So, if Sophie was telling Parker about the boyfriend, then Parker was probably telling Sophie about letting Hardison chase her around the world, right? That makes me super happy. They have such a great relationship. On top of that, Sophie obviously spoke to each of them at least enough to invite them to her Sound of Music show, so she was probably talking to Hardison at least off and on over the break too, since Hardison is way more likely to actually regularly converse with her than Nate or Eliot. Sooooo, what if he was complaining about Parker being too dang hard to catch? I feel like hopeless romatic/ENFP/idealist Sophie would be in hog heaven being right in the center of the round the world Pretzels chase, but that’s just me. :-)

Imagine a sterek Merlin AU where Stiles is a young warlock with incredible magic powers that he must keep secret from the world. Seeking guidance from the court physician, Deaton - a druid who keeps his magic a secret - Stiles moves out of his small home town in the country and into the glorious town that surrounds the castle: Beacon Hills.

Originally posted by dylanobrienbr

When he gets there, he gets in trouble with a young abrasive man who turns out to be the crowned prince, Derek Hale.

Originally posted by sterek

Later that evening, Deaton has to attend a court dinner and Stiles has to join him becasue Deaton refuses to let him out of his sight or else he’ll get into trouble. While at the castle, Stiles uncovers the plot of a witch who is going to make an attempt on Derek’s life. Stiles stops her but has offended the court with accusations of an attempt to poison the crowned prince. Peter, the king, orders him to drink from the chalice; if he is so sure it is poisoned then he will save Derek’s life, if it is not then he he shall live to apologise.
Derek stands up for Stiles, saying it’s absurd and tells Stiles he doesn’t have to; he can just apologise. But Stiles is certain. He drinks from the chalice and collapses; poisoned and now dying.
Deaton rushes to Stiles’ side, but there isn’t anything he can do.

Derek, out of gratitude, seeks to find the one thing that could save Stiles’ life: a little yellow flower that only grows in one place and blooms for only one night a year. But little does he know that the witch who poisoned the chalice has followed him and intends to kill him and leave Stiles to die.
But Derek is not alone either; all the time, Stiles is unknowingly casting magic from his deathbed.

Originally posted by wseagull9

Derek completes the quest and saves Stiles’ life and, when he recovers, Stiles is taken in as Derek’s personal servant. 

Stiles half expects Derek to make his life miserable and he refuses to be treated like a servant, but he soon finds that, behind closed doors and away from prying eyes, Derek is someone completely different: he’s an orphaned child who was taken in by his uncle and who grieves the death of his parents and his sisters. Stiles finds himself looking at a reflection of himself when he lost his mother.

Derek is secretive at first but he eventually opens up to Stiles and the two become close friends. Stiles now has to keep his powers secret, which is becoming increasingly difficult with the number of magic-based attacks that fall upon the city and the many attempts made against Prince Derek’s life and Derek’s attempts at being heroic by saving Stiles from those who try to kill him.

Slowly, the two grow closer until they’re more than friends.

Originally posted by alina-horanx3

Stiles slowly grows into a confident, powerful warlock, helping Derek rise to the throne and rule the kingdom; building a legend.

Originally posted by mrshirlings

(and I just wanted to add this gif becasue it’s pretty)

Apollo, the sunshine boy
Skin of gold and eyes of light
He is magnetic
Pulling me in with soft words from a velvet tongue
He is the source of all that is beautiful
and I am simply spinning around him
Waiting for the day that I may get close enough
To steal a quick kiss
And burn up into nothing but a memory
As the favor of a god never comes free
But all the gold in the world
Will never shine as bright as His smile
If (Modern) Jamie and Claire could text: Target Tampon Run Edition (for @anoutlandishidea)
  • Jamie: have a question
  • Claire: have an answer
  • Claire: probably
  • Jamie: ye always do
  • Jamie: what are yr thoughts on menstrual cups?
  • Claire: P(T*&T(^R*&#TRP*&#TGPR:IWEHFVFOC*&I
  • Claire: PIWUEGWOEUBGWIUEBGPWEGB
  • Claire: _DYING_
  • Jamie: it's a simple question ssnch
  • Jamie: for or against?
  • Jamie: waiting...
  • Claire: sry
  • Claire: i'm laugh n so hard cant tpe
  • Jamie : i have full faith in ye
  • Claire: okay okay
  • Claire: um...well...
  • Claire: What is...'never used one but they seem practical enough?'
  • Claire: I guess?
  • Jamie: good, i agree, thanks MND,
  • Jamie: see ye in a bit
  • Claire: WAIT WAIT WAIT, I THINK THE FUCK *NOT*!
  • Jamie: huh? i AM going to be home shortly
  • Claire: oh, come ON
  • Claire: you can't just drop a menstrual bomb and then saunter off without another word!
  • Jamie: I'm in the Target, lots to buy
  • Claire: WHY IN THE WORLD DID YOU URGENTLY NEED MY INPUT ON FEMININE PRODUCTS???
  • Jamie: well ye start your courses tomorrow, aye?
  • CLaire: (I shouldn't be surprised but damn me, it gets me every time)
  • Claire: IF YOU SAY IT, IT MUST BE TRUE
  • Jamie: aye
  • Jamie: 10:47 am. Be ready
  • Claire: JHRCCCCC, like a weatherman
  • Jamie: but anyhow, we'll be leaving for Auntie Jocasta's camper Gathering-stravanza in the morning
  • Jamie: and as it'll be Monday before we return
  • Jamie: it seemed wise to stock up
  • Claire: you are absurd
  • Claire: and a very useful man to have around
  • Claire: thank you, darling
  • Claire: ...but wait, what's the cup business?
  • Jamie: WELL, YE SEE
  • Claire: oh lord
  • Jamie: since Brianna AND Lizzie AND Marsali have all been in the house these last few days
  • Jamie: i'm expecting somewhat of a collective epidemic
  • Jamie: so, I thought it best to be prepared for an outbreak, since we'll be out in the mountains
  • Claire: supremely practical
  • Jamie: but tampons are j(*(&^(*^%(&^$(&(*_)*ing expensive
  • Jamie: and buying enough for four grown women was just more than i could bear
  • Jamie: and so the wee cup seemed an ingenious solution.
  • Jamie: so i've got four in the cart
  • Jamie: all set
  • Claire: CACCCCKKKKLLLLLLLLINNNNNGGGGGG
  • Jamie: ?
  • Jamie: Why?
  • Jamie: makes sense, aye?
  • Claire: wel
  • Claire: YES
  • Jamie: so....?
  • Claire: I will pay GOOD MONEY
  • Claire: for the pleasure of watching you explaining to YOUR DAUGHTERS why EXACTLY you were thinking about their menstrual health economies
  • Claire: I will pay DOUBLE to see you actually explain the FUNCTION
  • Claire: poor lizzie probably would FAINT from shock
  • Jamie: they're smart lasses, they dinna need an explanation. I"ll just leave them out for them
  • Claire: [o4htnpqeubrg[q9834htbpqieybgriaeurj
  • Jamie: SSNCH YE MUST STOP THAT
  • Claire: YOU'RE JUST GOING TO LEAVE THEM ABOUT
  • Claire: AS LITTLE UNEXPLAINED GIFTS??
  • Claire: LIKE FATHER CHRISTMAS???
  • Claire: FATHER...LADY BUSINESS??
  • Jamie: ye're laughing now
  • Claire: YOU BET YOUR SWEET GINGER ARSE I AMMMM
  • Jamie: but i'll be keeping a ledger of the savings over time
  • Claire: No no no non orijgnpqeirg
  • Claire: IT IS TOOOOO MUCHHHHHH
  • Jamie: and we'll just see, wont we?
  • Claire: JAMIE
  • Claire: JAMIE YOU'RE DESTROYING ME
  • Jamie: oh,wait...
  • Claire: I CANNNAAAAAAAA
  • Jamie: son of a BANNOCK
  • Claire: what?
  • Jamie: I canna get these
  • Claire: WHAT??
  • Claire: NO!! YOU CAn'T BACK OUT NOW!!!
  • Claire: THE COST SAVINGS, JAMIE!!!! THE SAVINGSS!!!!
  • Claire: (honestly dying over here)(screenshotting this to everyone i know)
  • Jamie: because I've just looked at the product name and it's called
  • Jamie: ughjjih it just makes me want to gag
  • Claire: what?
  • Claire: Pussy Pot?
  • Claire: Blood Bucket?
  • Jamie: dinna be crass
  • Claire: oh, so you're grossed out because it uses anatomical terms??
  • Claire: Jamie, 'VAGINA' is a perfectly natural
  • Jamie: HUSH
  • Jamie: I'm fashed because it's called a
  • Jamie: 'Diva Cup'
  • Claire: ....so?
  • Jamie: SO??
  • Jamie: that's the most patronizing garbage of a name i've ever heard!
  • Jamie: why does a practical contraption for managing a woman's courses need to be loaded wi' the implication of being SASSY and OVERBEARING and such?
  • Jamie: it's most often used in a sexist, disparaging context to criticize strong women
  • Jamie: and so to put it on a useful product such as this is just
  • Jamie: eirjngpqirbg
  • Jamie: it's revolting
  • Claire: I ....
  • Claire: have never loved you more than I do right now.
  • Claire: How about we order a generic brand on Amazon?
  • Jamie: they have other brands?
  • Claire: yep!
  • Claire: whole selection of NONPATRONIZING VAGINA VASES
  • Jamie: see, I kent you were a practical woman, too, ssnch
  • Jamie: I'll start the spreadsheet when i get home
  • Claire: i don't doubt you will