i could actually fill a book with scenes i want in the series

What’s Love Got to Do With it?

Your opinions are so interesting… So I ask you, what you think about Furuta’s love for Rize? What was revealed recently with Mutsuki makes me think they are same in a some way, I mean a twisted love and unhealthy obsession in a one-sided.
Asked by Anonymous

An interesting question posed to me in an ask that I’ve decided to turn into a full meta because I think the asker is missing that Furuta and Mutsuki are not the only ones with unrequited love this arc. Luckily I’ve drawn up a chart.

Why all of this unrequited love all of a sudden? Is it because Ishida wishes to write a Shoujo manga with corpses, and has decided to convert the last arc into one? It goes deeper than that, so let’s analyze it under the cut. 

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hopes for season two!
  • i really hope that in general they do something more interesting with book five. i think they have a lot of time to fill with that book so i’d be keen to see a way bigger vfd plotline while they’re with the quagmires (and obviously they’ll fit their spyglass pieces together, so there’s that)
  • i hope they do what the books did and keep you guessing about esme’s intentions - although i appreciate it might be difficult, i really think it could be great if you’re really not sure about her until the elevator moment
  • what i really want in book 6 is for jerome to be given a personality. i don’t really mind what it is. anything will do
  • please can they discover a spyglass and loads of other weird vfd memorabilia and photographs while they’re searching the squalor penthouse? they could assume jerome is a volunteer as a result. i’ve got such a clear image of them trying to talk to him about it and he’s like ‘yeah….;) ;) ;) volunteer…totally get it, yeah’ but actually he’s 100% confused and just playing along
  • sunny. climbing. the. elevator shaft. i’m really dedicated to this one, more than the swordfight with orwell. this could be a real moment of independence for sunny. i really hope they keep it
  • the discovery of the secret tunnel should be way more played up than in the books? i feel like the original book didn’t actually have time to explore some things, and that’s one of them. they popped up in the ashes of their old house. like. it was a big deal
  • i’d love the series to follow jacques snicket for a brief period before he’s in front of the villagers, like just little snippets. i just want to see more of him
  • in general, i’d like some explanation of why olaf persistently hides the quagmires in random places for seemingly no good reason, eg. the elevator shaft, the red herring, the fountain. it has never made any sense to me so i’d love it if they work that up a bit
  • lemony swallows when he narrates jacques’ death, and takes a long pause to maintain his composure
  • the whole scene that is the baudelaires running around the hospital library while esme tries to kill them with filing cabinets or her knife heels. that whole thing is going to be 10/10
  • i hope they keep the scene where violet phones the operator at the start of tcc, in desperation, still wearing a hospital gown. if anything i hope we see her get angrier over this than in the books, and actually say what everyone’s thinking: why won’t anyone help us?
  • esme’s jealous girlfriend routine would be the best piece of television. the ferocious lions cowering in the face of the woman scorned, the bit where she brings them all presents, the bit where she pretends she knew nothing about this, at all, who are you, who am i? i’m just sitting here, i haven’t even been listening, oh someone’s dead? bummer
  • i seriously hope they do a bit more with the freaks’ low self-worth and how it drives them towards villainy when presented with the opportunity to be considered ‘normal’ and treated with the most basic levels of respect for five minutes. i know it’s a family show, but i’d like them to be a bit upfront about the points they are making in the writing.
Strategies for Adding Depth to your Novel

Anonymous asked, “I’m planning my story and I’ve actually already done the basic parts, like characters, settings and plot, but I want to add more too it. Like, I have things that need to happen, a page for word count and progress, and I write down tips and research but I want to do more. Could you help me? Any tips? 

It sounds to me like you are looking for something a number of friends of mine call “discovery.” These are the moments where your story comes alive, your characters do things you didn’t know they could do, they end up being much deeper than you’d imagined from the outset. There are a few things you can do to try to spark this.

  • Dwell in a scene longer than you need to. While you may know what happens next, linger a little longer (and you may end up getting rid of this extra writing) and just give the characters things to talk about. Get them to open up about things that may or may not be relevant. You may end up seeing something in a character you hadn’t thought of that will tie nicely into the plot or you might get a main character to open up about some inner desire that they hadn’t previously had the opportunity to express. (For instance, it never was relevant in the 7 book series of Harry Potter to mention Harry’s fear of pigeons. Came up in the play though and shocked us all! But more seriously, there could be some deeper element of the character that hadn’t come up and could bring something more to your story.) Be open to anything. You won’t know what’s an important theme until you’re editing later. 

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Positive Vibes (ALiL Deleted Scene)

Summary: (College!AU) In which you do something for Bucky that brightens his bad day. 

Pairing: Bucky x Reader

Word Count: 1,923

A/N: An anon requested “reader does something spontaneous and romantic for Bucky that she doesn’t even think of as romantic! And he is just floored by her thoughtfulness.“ This takes place between “The Little Things (Part Two)” and “The Get Together”. Here’s a track list for the CD mentioned in this part. 

“A Lesson in Love” Masterlist + Soundtrack

@avengerstories - thank you for existing and being my very best friend/editor

Originally posted by veronikaphoenix

You’re stuck in the middle of a heated debate between Bruce and Helen Cho about gamma radiation when Steve walks by. He scans the dining hall, letting his gaze fall from one table to the next, before balancing his tray in one hand so he can rub his forehead. As he does, he discreetly scans the room for a second time, reminding you of a lost child desperately seeking out his mother.

"Steve!” You call out, making sure your voice is loud enough to be heard over all the chatter. He turns around immediately, a relieved grin overtaking his features as he walks towards you.  

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Writing Series #2: Plotting

Everyone has their own strategy for this one, but it’s also probably the aspect of writing that we ask each other about most of the time: what do you do to figure out your plot? How do you stick to a plot? How do you know where a story is going? How do you stay interested long enough to finish? How do you keep from getting lost? For first time writers, this is particularly daunting, as we tend to think of a book–all 80,000 words or so–as overwhelming and more than we know how to accomplish, as something too big or unattainable. 

Some writers sit down with a single idea and go from there, letting the story come as it may and waiting for the ideas to strike as they write. For many writers, this works. For me, it doesn’t. 

My process looks a lot more like this:

  1. Wait for an idea to strike (and I mean strike; it has to come to me, haunt me, bug me, until I’m sure I can do nothing but write it)
  2. Plot. Plan out everything. Write it all down, outlining each chapter–what will happen in each and how many there will be.
  3. Write. 
  4. Edit. 
  5. Edit again. 

Step One: There are lots of good ideas out there, and my notebooks are filled with ideas; ideas that occurred to me in the middle of the night, ideas I thought up after witnessing something in a park or listening to a good song. New ideas are exciting and can lead to great things, but I won’t turn any of them into a book until I’m sure the idea won’t go away. 

I don’t write it down. That’s the first test; if I haven’t forgotten it the next day, or the next, or the next, then I know it might actually lead somewhere, that it’s not a fleeting idea that will tempt me and then leave me hanging. I let this go on for a month–yes, a whole month–and if at the end of that month, I still can’t let that idea go, if it’s still rolling around in my head, waiting to be explored, then I move onto step two. By then, I know that the idea and me are long-term, that we’re in this for the long run. 

Step Two: I plot. I plot everything. 

  • I start with the main arc: where do I want the story to start, and where do I want it to finish. In my most recent story, for example, I knew that I wanted the main character to begin cynical of love and relationships, and I wanted the story to end with him opening his heart to the possibility (even if he wasn’t yet in a relationship–that bit I’d find out later). I knew I wanted the three strangers at the beginning of the story to be best friends by the end. I knew they’d all start with some trauma, and I wanted them all to successfully be on the path to recovery and healing by the end. 
  • Then I looked to time: I believe it’s important to know just how much ground, chronologically speaking, a book is going to cover. I needed to know how long my characters would have to experience the emotional growth mentioned above (the less time, the more the plot would have to directly affect them, the more intense that plot would need to be). I gave them the summer. Just three months to learn and get to know each other, which meant every day was going to count, and I wasn’t going to be writing a lot of moments skipping ahead in time. (If the story was to last five years, for example, I’d have a lot more room to build these relationships, and so things could unfold more subtly and with large chunks of time between.)
  • Then I look to characters: I write down all the main and minor characters (naming them is a good first step, though this can change later) and I write down both their emotional state when the story starts and what they’re actively doing with their lives, and their emotional state when the story ends and where they’re at/going with their lives then. 

As you’ll see, there’s a pattern here: I figure out point A and point B. Then I make a list of little things I want to happen, different scenes that have begun to play out in my head, interactions I want the characters to have, pitstops no the way from A to B. And slowly, I build the story around them. I begin to figure out how we get there, which road the story is going to take, and little by little, the story comes together until I have an outline that looks a bit like this:

Chapter One: Opens in [setting]. Character A talks to Character B about [topic] They meet Character C. Ends with Character A realizing [topic]. 

And so on, until we get to the last chapter. In a way, this outline becomes a script, my go-to plan. 

Do I always stick to the script? No. But when I begin to write, I keep that list pulled up beside my new blank word document, and I read it from time to time. Sometimes, once I get writing, once I begin to know the characters a bit more, and once the story finds a voice of its own, I go off script, and the story takes me places I wouldn’t have expected. But I always make sure I refer back, make sure that one way or another, I come back to to road map. It’s okay to take a pitstop on the path, to go off on a tangent, but the plot map allows me to find my way back to what’s relevant, to what I know has to happen to get from A to B. 

For any writers out there who worry about making their stories big enough, who have trouble thinking of side plots, this is also a good way to map that out and see where your story has room to grow and what it can encapsulate. It lets you see just how big the story will become and if it belongs in novel format or if, perhaps, the idea is better suited for a short story. 

To all the writers out there: how do you plot? Are you a planner or a wing-it sort of writer, or is there some way to write in between? Feel free to comment her or message with your go-to tips!

ALRIGHT Y’ALL BUCKLE UP BECAUSE, THANKS TO THIS POST ABOUT LANCE, I JUST FOUND THE GREATEST PARALLEL OF ALL TIME

The post ends with the line “it takes a lot of courage to stand up to your friend and your hero like that.”

AND YA’LL

Y

A

L

L

Keith and Lance are Harry and Neville

(more under the cut because this is long as fuck)

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On plot holes in general

To clear the air: I’m not just talking about Moftiss. But I’m also talking about Moftiss. 

The thing about plot holes is that there are two types: ones which are unresolved plot threads, and things wherein the writers failed to show us something and assumed we would fill it in ourselves. An example of the first type would be John’s letter to Sherlock at the end of TST. Why introduce the letter if it was never going to be shown, read, or referred to again? An example of the second type is how John got out of the well and still had feet in later scenes. There, the writers could have showed us John realising that only his shoes were chained and showed him removing them and climbing up the rope, or they could have showed someone climbing down to cut through the chains. But it feels like a hole because they didn’t. 

Eurus *could* have used all of her brainwashed fellow inmates/patients to make all of those arrangements, but without seeing any of it, it feels difficult to swallow. If they’d shown even one scene of her doing some of this, we might have been more willing to extend some benefit of the doubt, some extrapolation of “oh, I guess there was more of that, then, ok”, but we didn’t see any of it. There was nothing there to explain how supposedly-dead Mary kept sending posthumous home videos. 

Then again, most Bond/spy movies do the same thing, honestly. If Bond’s credit cards were cut off, how did he rent that Aston Martin? Where did he get that new suit? Last time we saw him, he was wearing jeans and a ripped t-shirt and had no luggage with him. Has he been wearing the same underwear for the entire movie? Does he ever brush his teeth? Personally, I’m one of those irritating watchers who always wants to be shown the parts that make it feel real. I suspect that screen writers leave this stuff out deliberately for three reasons: 

1) They think it will be dull. They figure audiences don’t want to see Bond trying on shirts or going to the bank to take out cash or maxing out on a credit card. Better put in some more car chases! 

2) They’re already trying to edit things down to fit into a prescribed run time. Therefore Bond doing cardio to keep fit for all those foot chases gets cut. 

3) They actually don’t want the protagonist (or villain, as the case may be) to seem human; they want us to see them as almost super-human, so Bond clipping his toenails never gets written. 

The thing is, the day and age of willing suspension of disbelief is over. Audiences are more analytical than they used to be. We’re used to getting explanations when we want them, because information is so widely available now. When things don’t add up or make sense, we find it irritating, not artistic. I honestly think that Moffat and Gatiss think they’re being artistic by not explaining things fully (though that doesn’t excuse them by a mile for constantly underplaying the realistic emotional fall-out of the things their characters suffer), but the fact is that their audience simply finds it underwhelming and sloppy. I think it may be partly a question of generations, too, but I also know fans of Sherlock who are their age and older, who find their plot holes as irritating as fans in their teens do. Personally, the more realistic something is, the more it will draw me in. I want to know where Bond got those dry socks from to replace the ones that got wet in the rain. I want to see him jet-lagged after flying halfway around the world. I want to know how he paid to get to that island or that city without any working credit cards or debit cards. You can’t book a flight with cash, not a commercial one, at least. “He took a charter,” the screen writer says, shrugging it off in an interview. Sure, fine: then show it. 

Moffat mentioned somewhere that Sherlock delivered Rosie, which is a frankly appalling thought, especially given that there was an actual doctor in the car, and given Sherlock’s horrified face at the thought of an event involving female genitalia unfolding in his very presence, I somehow can’t picture this in the slightest. 

Part of the problem is also that their episodes span too much time too rapidly to address the questions of how their day-to-day relationships function, what those dynamics really are, etc. Too much is skipped over for the sake of advancing the plot. I would personally rather see more attention given to detail and less to unbelievable plot arcs. I expect Doctor Who to be wholly unbelievable (and even there I used to snark about dropped plot threads and unsatisfactory resolutions as well as under-handled emotional fall-out, when I still watched it). I expect Sherlock to be believable, though, and there was just so many holes. 

All I’m saying is that Sherlock is not the only show that does this. There are a LOT of holes in series 3 and 4, but my larger issue is the emotional fall-out thing and the dropped threads. (Why make such a big deal with the memory altering drug? Why was there a dog bowl that Sherlock recognised? What did that damned letter say??? What did Ella tell Sherlock to do for John? Because I bet it wasn’t “go to hell, Sherlock”, yet that’s the advice he chose to take. Why???) Yeah: we like to be shown these things. It’s not enough to explain it later in an interview or a panel at a conference. Put it right there in the canon as though you meant to all along. That’s what ticks my boxes, at least. 

Rambling aside. Back to the current fic. As you were! 

lazilydeepcoffee  asked:

(please bear with me) Okay, so, I'm a 15 year old freshman in highschool, and I've wanting to create some sort of series, whether it be a comic, or something else for a few years. I haven't too serious about it, but after one my of my friends showed me your video, for some reason, i was especially inspired. Now, I already have one character... but that's all i got. How did you come up with the things in your film? And did you ever experience "writer's block"? and if so, how did you deal with it?

No worries dude!  So okay, I’m gonna’ be honest, when I read this, I was hit with such a weird mix of, like, “god this is literally impossible to answer”, and “man I remember feeling that way when I was 15″.  So I guess the best thing I could do is elaborate.

<ENTIRE poorly-structured NOVEL BELOW THE CUT.  I MISTAKENLY THOUGHT THIS WAS BEING POSTED TO MY PERSONAL BLOG.  YOU’VE BEEN WARNED.>

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Bucky’s Girl |Series| 3/?

Originally posted by bartowskis

Summary: You’re dating Bucky Barnes, it’s good. It’s beautiful. Steve, his best friend has had a crush on you, wayy before Bucky returned. (Series)
Warnings: Angst/ inspired by that one story in Love Actually but kinda not/
Characters: Bucky Barnes, Steve Rogers, Sam Wilson, Wade Wilson, Negasonic, Colossus, Tony Stark, Natasha Romanoff, Peter Parker & Sharon Carter.

Inspired by the song Jessie Girl - Rick Springfield

Part One * Part Two

Originally posted by naih-reedus


Steve knew listening to Wade was a bad idea, worse than listening to Stark. Yet, his idea was stupidly great. It was bullet proof in a sense, there was no way it would fall back on him if he did it correctly. He just had to wait till you and Bucky started wedding planning to act, which he didn’t have to wait long at all because you were so excited to start. In fact, within a week you were already looking for venues because they were always the hardest to grab.

“We have a year, even longer to plan anything,” Bucky practically whined one morning jog to Steve, making him chuckle lightly through the puffs of air. “And she’s already looking at venues”

“She’s excited, Buck.” Steve glances at him, “Aren’t you?”

Bucky all but grinned and chuckled. “Of course I am, I just think it’s a little early, ‘tis all. She’s acting like we have to get married next month; we got the rest of our lives together.” Steve nodded in agreement, “I have to go look at three places this weekend.”

“I thought you and Nat had that Russian poker night this weekend?”

Russian poker night was usually, drinking and intense games of cards. Steve, honestly, hated them. He couldn’t play that’s why but it was the betting, plus Nat’s competitive trait that made the whole experience awful. He loved Nat, he just didn’t like playing games against her, always preferred to pick her for teams; considering she was hell bent on winning whatever it was.

Bucky exhaled, “I gotta take a rain check because we’re leaving town to look, plus having to end up staying a night and looking the next day because of the appointments.”

Steve nodded and looked ahead, Sam jogging in front. Steve’s eyebrows furrowed in thought as he contemplated his friends’ dilemma. He really did want to help Bucky; he knows how much the time with Nat and Clint means to him. He loved them both, especially Clint. Sharpshooters, it was destined for friendship.

He also saw this as a great opportunity to start the plan. Wade would want him to take this chance, is he really listening to the devil on his right shoulder, right now? The voice of reason could be faintly heard in the background, it sounded a lot like Sam. Maybe because he is yelling at them both.

“On your left”, “On your right.” Both super soldiers yell as they pass their other best friend, who continues to yell obscenities at them.

Steve lets the silence sit between them as he thinks over how to word his thoughts. “If you want, since I’m the best man, I could go instead.” Bucky looks over at him, bringing his jogging to a stop and Steve does the same. “I mean if you want me to. I’m happy to step in and help, plus Y/N is my friend and it’s not like she’s picking one then and there. It’s looking; I’ll come back and tell you my opinions. I don’t know it’s a suggestion.” Steve shrugged, scratching the back of his neck out of nerves.

Bucky thinks over his best friends’ suggestion, shrugging also. “I don’t see why not, I trust your judgement better than anybody’s, heck it’s why I’m dating Y/N.”

And that led to the hour car trip with you singing in the passenger seat travelling to the first appointment.

Which the first appointment was extravagant, Tony had booked you to view The Plaza Hotel, a grand building that held luxurious events and overpaid Wedding ceremonies. Yet, he wanted you to look at it and see if you actually liked what they offered, although Steve knew you preferred something smaller. Fewer chandeliers and ballrooms, well that’s his opinion anyway.

“Bride and groom, I assume?” A woman greeted with a smile as you entered.

You shake your head lightly, “No, Bride and Best man, the groom had other obligations today.” You explain light-heartedly, Steve smiling with his hands in his jean pockets.

The woman named, Rachel, nodded and led you towards the room where the ceremony is held.  Giving a few little tidbits of information along the way; how Bridal suite is complimentary, how valet is offered and at $65 per car. Steve was stunned with how much this wedding would cost at this venue alone just from the price of fucking parking.

Both rooms shown were stunning. Grand halls, filled with chairs and tables, looking straight out of a movie scene. Steve let his eyes drift over to you, you were glancing up in awe as Rachel told you about the chandeliers, explaining every detail if you were in this room. You looked mesmerised, yet he didn’t see that twinkle. That urgency to have this venue, you didn’t feel this place was right and he knew that.

“What do you think, Stevie?” you called out to him, Steve looked up to see you and Rachel looking at him. “I trust your opinion, considering both Groom and Maid of Honour are off playing cards.” You gave a little shrug.

Steve chuckles and gives a soft exhale, stepping forward. “I mean, it’s beautiful,” he begins, “if you like this sort of thing.” Rachel frowns, “I don’t know, it’s flashy and big. Perfect for Stark, I personally wouldn’t pick a place this to get married but it’s not my wedding.”

“That’s right, it isn’t your wedding,” Rachel smirked and looked at you, “it’s yours and we have wonderful caterers. A wedding cake made by Ron Ben-Israel or Sylvia Weinstock,” she smiled smugly.

You let Steve’s words settle in and Rachel’s. “Well, what do you like?” You asked Steve suddenly and he took a long pause to think.

“I don’t know, I always pictured maybe a quaint little church, I’m traditional. I wouldn’t want the venue to take away from her beauty” he looked at you, you nodded once. “I’d want it just simple, yet modern. I’m not the same guy I was back in the forties, I have to adjust, and then I think the evening after the ceremony. Courtyard, I love the outdoors and I’ve had some of my best memories outside. Not too many people, on my side anyway. I’m a simple man, I guess.” He shrugged it all off, “plus, Laura Barton makes the best cakes.”

As Rachel begins to talk again you allow Steve’s vision of a wedding settle into your mind, honestly, it sounded so perfect. It sounded right. You didn’t want or need this flashy venue, it was beautiful but it wasn’t you. It wasn’t a place you ever pictured getting married nor was it calling out for you. So, you ended the appointment early and decided to find somewhere to have lunch.

“I didn’t put you off did I?” Steve asked sheepishly, you looked up at him as you crossed the busy New York street. “You seemed to really like that place, I don’t want to force my views onto you Y/N, I’d never want you to feel uncomfortable or that this day would be less important because of what I said.”

You smiled, always the worrier. “No, it’s the opposite. The Plaza isn’t somewhere I pictured myself ever getting married; I mean it’s gorgeous and grand. It’s just lacking that…” You trailed as you tried to find the words.

“Special something?” You nodded in agreement, “I’m sure you’ll find the perfect venue and you’ll know that that’s where you wanna get married.”

You shrugged with a small smile, “Hopefully, I think this is gonna be fun. You helping me, I should have picked you instead for my Maid of Honour.” You chuckled as Steve laughed; you linked your arm through his and led him towards your favourite sandwich place.

“Nat would have killed me,” you nodded with a little giggle.

*Last Venue Appointment*

“This is it.” You whisper as you glanced around the beautiful chapel, “I have that feeling; I want to get married here. This is where I wanna marry Bucky,” you grin at Steve who nodded as he looked around; he had to admit this was perfect.

Beautiful stainless windows, the sun casting perfectly, reflecting the beautiful pictures on the stone floor. Oak benches all lined and facing the altar; it was just classical and perfect. You had fallen madly in love with the place, only it was high demand and every Bride wanted traditional, that was unexpected considering Steve was said to be old-fashioned.

“They have next month or two years from now,” you sighed unhappily to Steve who wrapped an arm around your shoulders. “This is the place, Steve, I know it and it’s my rotten luck it’s gotta be either too early or so late.”

Steve held you and his mind drifted, well his mind shifted into Wade Wilson’s mindset. Bucky had mentioned how fast this was moving, how it was like you wanted to get married next month. He obviously hadn’t said anything to you about the pace, the nice metaphorical angel was screaming on his left shoulder to bite his tongue.

“I mean, if this is the place you should take it,” you pulled away and looked at Steve. “Either date seem fine; Nat can plan a wedding in under a month, especially with Pepper’s help! Or… wait two years, you’ll still love Bucky the same as you do now, considering you’re marrying him.”

Either option worked well for Steve. High pressured stressful environment between you and Bucky, rushing to plan a wedding in less than four weeks or two years to make you realise, you should be marrying him. It seemed to work well on either case.

“I should call Bucky,” you trailed and looked at your phone. “I mean, you’re right, right? Natasha has planned missions in under an hour; this isn’t any different to that. Plus I don’t really want to wait, has Bucky said anything about dates or?”

Shit. Think of something, Rogers.

“Uh-nope, not a thing about dates,” that wasn’t a lie. Bucky had never brought of dates, he had mentioned how fast paced this seemed but you didn’t ask the right question for that answer.

And this whole thing has led to Steve having to awkwardly leave the apartment as you and Bucky argued over your rushed behaviour when you returned home that Sunday evening. He met Wade at the bar, where his friend Weasel tends. Sat on the bar stool, hoodie on and baseball cap, he glances at Wade after spilling the entire weekend story to him and Weasel.

“Well, fuck,” Wade says through his suit and looks at Steve who just nods. “I, honest to god, didn’t think you had it in you.” He pats Steve broad shoulder and points to Weasel, “He deserves a drink on the house.”

Steve sighed as Weasel hands him another beer, “I didn’t either but the little devil on my shoulder wouldn’t shut up!”

“I am the voice of reason,” Wade holds his glass high, probably grinning under his mask.

“You mean stupidity.” Weasel counters, “Why did you listen to him? He refused to talk to Vanessa because of his ugly mug, understandable but still, dating advice from a fuck-face.”

Steve chuckled and shrugged, “Desperate.”

They nodded at one another, “stick with me kid and you’ll be banging Bucky’s girl in no time,” Wade patted Steve’s shoulder as Weasel rolled his eyes and Steve exhaled loudly.

(Sorry that it takes me forever to update this series, I was just trying to format how the other parts would pan out if I decided a certain thing. a lot of rewriting, I am undecided on the ending of this, yet. - Rosalee)


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Routine Part Two (Lin x Reader)

Thank you SO MUCH for all of the positive feedback on part one!! I’m really excited for this series and I hope that you’ll enjoy it!! 

Prompt List//Request Something//Masterlist

(Part One)(Part Three)(Part Four)

requested: yes :) (y’all are so sweet

Summary: Reader and Lin have to meet every two days to work on their play. Will they make it through the month without wanting to kill each other? Will it make them any closer or will it just make things awkward?

Warnings: Pride and Prejudice is mentioned a lot in this series bc why not (not in this part–just in the series in general), high school bullies, teen! lin being a jerk, reader being a jerk, just everybody being a jerk, dads embarrassing their children.

Words:2322

People who wanted to be tagged (for some reason that I don’t understand): @yayhamletnonstop @just-a-random-fandom-24


Originally posted by mr-linmanuelmiranda

You hear a knock on your front door at precisely 5:52, and you feel pleasantly surprised. You didn’t think he would actually show up on time.

“I got it, dad!” You scream to your father as you rush down the stairs.

You swing open the door and when you see him, you can’t help but gawk at his beauty.

Before you stands Lin with his headphones around his neck, his hands are fiddling with the strings on his light gray hoodie, and his eyes stuck on the welcome mat at your front door. Your heart swells a little at the thought of maybe wearing his hoodie, before you remind yourself what a jerk he is and how he isn’t worth your time. He doesn’t look up when the door is opened, so you clear your throat to get his attention.

You don’t greet him with a normal ‘hello’. All you say to him is, “I half expected you not to come.” He scoffs. “Well, at least not on time.”

He smirks before pushing past you to step inside your home.

“You said that you hated when people are late, and the last thing I would want to do is make you mad.” You can’t help but want to smack the smirk off of his face. 

Keep reading

Did the Baudelaire orphans survive “Chapter Fourteen”?

“The End” left us with a literal question mark: the Baudelaires took to the sea, and Lemony Snicket ended the series abruptly. What became of them once they left the Island? A coded sentence in “The Beatrice Letters” gives us the answer: their ship, the Beatrice, sank. End of story: the Baudelaires died in the depths of the ocean.

Except…

Except their foster daughter, Beatrice Baudelaire Jr, somehow survived this shipwreck. If a baby can survive that, why not the three other Baudelaires? Is there still some hope of finding proof of their presence on the mainland?

And if there is, why is Lemony not doing anything about it?

Let’s unravel the series’ final mystery after the cut.

Keep reading

Epic Movie (Re)Watch #94 - The Book of Life

Spoilers below.

Have I seen it before: Yes.

Did I like it then: Yes.

Do I remember it: Yes.

Did I see it in theaters: Yes.

Was it a movie I saw since August 22nd, 2009: Yes. #325.

Format: Blu-ray.

1) I watched this about a week ago - on the actual Day of the Dead - but didn’t have time to write it because I live in Chicago and the Cubs won their first World Series in 108 years. So my priorities were a little different than usual.

2) Anyone here a fan of “El Tigre”?

Originally posted by fire-miracle

Well the creator of that show - Jorge R. Gutierrez - was the writer/director of this film! Some El Tigre characters even cameo in the film’s opening, but you have to REALLY look for them.

Originally posted by oescafandronasociedade

3) The framing device of this film (a bunch of kids at a museum being told a story) is a classic fairytale/magical realism device that can be found in films such as Big Fish. It also gives the film a plot driven reason for it’s unique animation style (the characters looking like wooden figures).

Originally posted by -bawsten

4) This film has some really great humor.

Vendor Boy: “Churros! Churros! (A bird poops on the churros.) Frosted churros!”

5) I will talk about La Muerte and Xibalba as individual characters in just a second, but for now I want to focus on their relationship.

Originally posted by gifsbyrosie

I’m not overly familiar with Day of the Dead lore outside of this film, but I think the idea of having the ruler of The Land of the Remembered (La Muerte, everything good and wonderful in the world) and the ruler of the Land of the Forgotten (Xibalba, everything that is negative in the world) be lovers is a great idea. Their relationship is tense, volatile, and can be filled with conflict, but never is it abusive. Never is it hateful. You always get a great sense of love between these two and that’s what makes it work.

6) Ron Perlman as Xibalba.

Originally posted by clusterstruck

These two wouldn’t work so well together if they couldn’t stand on their own as characters. And the work so well in that field because of equal parts writing, character design, and voice over work. Ron Perlman is a regular collaborator of Guillermo Del Toro’s, the executive producer on this film, and has worked in a number of animated project before (including VP Lancer in “Danny Phantom” and Clayface in “Batman: The Animated Series”). Perlman brings a roguish charm to all his characters, even when it’s just his voice. He’s interesting, rough, and just likable! And he makes Xibalba all those things. You’re never particularly rooting against him, even though he’s technically the villain. You’re just entranced whenever he’s on screen.

7) Kate del Castillo as La Muerte.

Originally posted by beanarie

American audiences are not as familiar with Kate del Castillo as they are with Ron Perlman, although she is one of Mexico’s most acclaimed popular actresses. As Perlman does with Xibalba, Castillo brings genuine charm, likability, and charisma to La Muerte. As well as an added fierceness that lets you know this undead ruler can keep her own when head-to-head with her darker lover. You definitely get the vibe that La Muerte is the more dangerous of these two but also the kinder, and so much of that relies on Castillo’s performance.

8) Manolo, Maria, and Joaquin.

Originally posted by br0ken-5tring5

We first meet these characters and get a sense of their relationship as children, and it’s great. Yes Manolo and Joaquin both love Maria, but they’re friends first. ALL of them are friends! Later in the film Joaquin and Manolo remain friends even when vying for Maria’s affections, and they are friends with Maria before they are lovers. And I think it’s driven home by this statement from Maria as a child:

Maria [after Manolo and Joaquin fight over who’s she is]: “I belong to no one!”

They don’t belong to each other, they chose to be friends. They chose to be with together because they genuinely like each other. I love that.

9) A huge theme of this film is also seen in Maria’s, “I belong to no one!” line and that is the theme of being true to yourself.

Both Joaquin and Manolo have huge shadows they live in (a line which is actually uttered by Joaquin later): Joaquin’s dead father was a great war hero and Manolo’s father pushes him to be a bullfighter like all the men in their family have been. It makes for a unique conflict and a great message to kids of all ages: be yourself.

10) Maria as a character.

Originally posted by maria-magnolia2

You get a real sense of Maria as a character when we first meet her. Not only does she have the wonderful line, “I belong to no one!” but she also shows her placement of morality over societal values by freeing animals slated for slaughter. Her father sends her off to a convent to become, “a proper lady,” but…it doesn’t really work. At least, she doesn’t become his definition of proper. She is loving, kind, sweet, but fiercely independent and someone who follows her heart above all else. Zoe Saldana voices Maria, and breathes such wonderful life into the character you forget she’s acting. Everything about Maria just feel so real it’s amazing.

Originally posted by zoeesaldanaa

11) The decision to compose the film’s soundtrack from popular music recorded specifically for the movie (the mariachi version of “I Will Wait For You” being the earliest example) as well as original songs composed by Paul Williams is a great one. The copyrighted songs never feel out of place and don’t distract from the plot, instead playing perfectly into the emotion of the scene. And the original songs are made for the moments which are purely story and pure character, so they could not possibly be represented by something which was already written because this story hasn’t existed before.

12) Manolo!

Originally posted by annika-renina

All the characters in this film are written with such life and depth that lead character Manolo couldn’t POSSIBLY be an exception. He has skills as a bullfighter, but is deeply conflicted by his duty to his family and his duty to his heart. But it’s all guided by love, something with is illustrated by the inscription on his guitar (a gift from Maria, nonetheless): “Always play from the heart.” It is Manolo’s defining characteristic and defining struggle: that he wants to be himself, not his father or anyone else.

Diego Luna just…ugh! So I’ve seen Luna in small roles before (The Terminal, Elysium) but this film makes me a HUGE fan of his! I’m really looking forward to his role in Rogue One BECAUSE I loved his performance in this film so much. Manolo sings more than any other character in the film, and Luna infuses each song with such sincerity and warmth it is nearly impossible not to fall in love with his performance as Manolo. And he treats each line of dialogue the same. Like Saldana as Maria, you don’t feel like you’re listening to an actor. You’re listening to Manolo.

Originally posted by luna-diego

13) Grandma is hysterical.

Grandma Sanchez [after Manolo refuses to kill a bull]: “Kids today, with their long hair and no killing stuff.”

Grandma Sanchez [after Manolo’s father says everyone in their family was a great bullfighter]:

Originally posted by grumblepie

“A BEAST!”

She doesn’t have many lines but very nicely embodies the film’s wonderful characters and humor.

14) Manolo’s Father, Carlos.

I have seriously MIXED feelings about Carlos, and I think you’re supposed to. He shows a genuine desire to do the best for his son, he just doesn’t actually KNOW what’s best for his son. He pressures him into being a bull fighter because it’s the Sanchez way, and when Manolo expresses dissatisfaction with this his father shames him into doing it.

Carlos [to convince Manolo to be a bullfighter]: “Don’t you LOVE your family?”

(GIF source unknown [if this is your GIF please let me know].)

(PS, I find this line to be the sign of an abusive relationship but maybe that’s just me.)

BUT Carlos has genuine moments of love with his son. He encourages him to tell Maria how he feels, he comforts him when he’s missing his dead mother, he actually LOVES Manolo. Hector Elizondo’s performance and the writing gets this across in a great way, and I think the film is better for it.

15) Channing Tatum as Joaquin.

Originally posted by fwankcastles

I do have to say of the trio of friends, Channing Tatum’s Joaquin is probably the weakest link. BUT that’s like calling one of The Lord of the Rings movies the worst in the trilogy: it was still nominated for best picture! I think it’s definitely because you know Joaquin is the third wheel, you know that Maria loves Manolo, and so it’s hard to get behind it. And you just can see that although they’re great as friends they wouldn’t make a good couple (despite Joaquin’s hopes to the contrary).

It would’ve been easy to write Joaquin as a jerk. And although he can be a bit pig headed here and there, you understand that he’s a genuinely good friend who truly cares for Maria (even though they’re not a great fit). Tatum brings a lot of this to the role, and even though I believe he’s the only non-Hispanic actor playing a decidedly Hispanic character (Ron Perlman gets a pass because Xibalba is an otherworldly creature) he has the same warmth and sincerity as Luna and Saldana have. It’s a nice way to round out the trio of friends.

Originally posted by jumpstmovies

16) I can’t tell if this joke is stupid or hysterical.

Pepe [when he and his brothers are in danger]: “I’m allergic to dying!”

Pancho: “Especially in the face!”

Originally posted by idiot-eden

17) Joaquin’s biggest failing is probably that he buys too much into societal values, and his society’s values are…sexist. He is surprised that Maria reads, expects her to be a doting housewife (as all the high up men do), and that’s not what his heart wants it’s what he thinks should be.

18) “I Love You Too Much”.

Originally posted by odazais

This is the song Manolo sings to express his feelings for Maria, and it’s beautiful. Paul Williams has crafted a quiet, loving melody which pulls at your heartstrings and is sung beautifully by Diego Luna. I think it’s my favorite song in the film and one of the best love songs I’ve ever heard.

19) Maria is awesome, if that hasn’t been made clear already.

Maria [stopping a kiss after Manolo’s song]: “Did you think it was going to be that easy?”

She’s not the girl who falls head over heels for someone just because they sang to hear. It’s appreciated, but there needs to be more than that. I love it!

20) This film never subscribes to storied cliches. It’s not like Manolo can’t be an idiot too, as noted when he and Joaquin start to fight over Maria (which she has shown to never truly appreciate).

Originally posted by lolitajohnadams

Maria: “You two are acting like fools.”

Manolo: “Wait, me too?”

You mean me, the nice guy romantic lead, is actually making a mistake? What kind of movie is this? (Hint: a great one.)

21) How long must it have taken to put out all those candles?

Originally posted by mariaymanolo

It shows devotion on Manolo’s part. As will the rest of the film, honestly.

22) One of the conflicts in this movie that gets me going the most is how unfair everyone is to Manolo. When they were children he stopped a wild boar from hurting people, but Joaquin got credit because he saved the mayor. As adults he’s ready to fight off bandits without a magic medal, but Joaquin gets credit because he does fight them off WITH a magic medal which protects him from harm. And when Maria dies from a snake bite everyone blames him. He’s not the snake! He didn’t bite her! So bug off!

23) My brother and I laughed so hard after we heard this line:

Student [after Manolo dies]: “What is it with Mexicans and death!?”

The only reason that line isn’t racist is because it was written by a Mexican in a film directed by a Mexican which is produced by a Mexican. So it’s okay to laugh.

24) The Land of the Remembered!

Originally posted by lolitajohnadams

Originally posted by lolitajohnadams

The Land of the Remembered is when this film’s visual style really takes off. Gutierrez’s imagination and the animation department’s skill bleeds through every scene in this wonderful place and it really pulls you into it’s world magnificently.

25) I mentioned in my Nightmare Before Christmas recap that Burton and company did a good job of establishing minor character with small introductions, and The Book of Life (although not Burton) follows in that tradition when we meet Manolo’s family.

Each family member - from the brutish Carmelo (voiced by the film’s director) to grandpa Luis (voiced by Danny Trejo) - is given a unique character with just a few seconds of screen time and dialogue which carries through until the end of the film. It works wonderfully.

Originally posted by lamuertes

26) This freaking line, after Jorge is established as wanting to have been a singer.

Originally posted by dukespook

Manolo [after the two laugh about it]: “They crushed our dreams. Hilarious!”

Originally posted by yourreactiongifs

27) Manolo’s Mother.

(GIF originally posted by @lamuertes)

Immediately there is a difference in what is expected from Carmen Sanchez (his mom) and what there is.

Manolo: “And I became a bullfighter, just like you wanted.”

Carmen: “Me? Are you crazy?”

It turns out Manolo’s father saying his mother wanted that was…uh…wrong, to put it mildly. It’s a nice juxtaposition which establishes her as a character and not just a plot device.

28) Dude, I love this dialogue.

Xibalba [after Luis says La Muerte would never hand over her kingdom]: “She lost a bet.”

Luis: “Oh. She would do that.”

29) You get a lot of Manolo’s tender side and playing from the heart, but it’s easy to forget that he’s still a headstrong Sanchez boy. He still has the fierceness of a bull fighter, even if that’s not what he wants to do. And we see this particularly when Manolo threatens to expose Xibalba. That may not be the smartest move, but it is fierce.

30) Did I mention this dialogue and humor is awesome?

Luis [after his body is knocked away from his head]: “Hey, my arthritis is gone!”

31) The Candlemaker

Originally posted by thenugu

The Candlemaker rounds out the trio of immortals here, and falls in the middle. He is not about the Land of the Remembered or the Land of the Forgotten, he creates the candles (each candle representing a life). He is this big ball of happy childlike energy which is just fun to watch. And who’d they get to place this super upbeat and positive guy with hope and optimism dripping from him?

Originally posted by hiphop-community

It’s a nice change of pace from Ice Cube’s more hardboiled characters to see him play such a wonder filled creature, and to do it so well too! His voice work stands up there with the rest of the cast in that you never think you’re listening to Ice Cube, you’re just watching the Candlemaker. It’s great.

32) ALL THE LADIES IN THIS FILM ARE FIERCE AS HELL!

  • Maria’s fierceness has been established above.
  • La Muerte getting pissed when she finds out Xibalba cheated on the beat is fierce!
  • MANOLO’S MOTHER SLAPS XIBALBA AFTER SHE REALIZES HE KILLED HER SON!!!

Originally posted by jeunetrentenaire

It’s a lot of fun to watch.

33) The final fight before Manolo can return to the land of the living is born from a wager he makes with Xibalba (he’ll face whatever challenge is thrown his way and win).

Xibalba: “What, do tell, is your worst fear?”

And then we get this:

Originally posted by littlechinesedoll

But it turns out his greatest fear isn’t killing the bull, it’s being true to himself. This ties into what I mentioned earlier: Manolo’s defining characteristic and his struggle are the same in that he wants to be himself. And we get a wonderful song to tie it up, of the same quality as “I Love You Too Much” and it is simply called “The Apology Song”. (Manolo’s father, who’s dead at this point, said that a Sanchez never apologies but after the fight is incredibly proud of his son.) It’s a nice character climax for Manolo before we get the final fight of the film.

34) When you have no idea this is coming, it’s the funniest line in the film.

Originally posted by museelo

(GIFs originally posted by @museelo)

35) I give massive credit to the filmmakers for the way they handled Joaquin. He and Maria are set to be married now that Manolo is dead, and he knows Maria doesn’t want it so he’s about to talk to her about it before the town is attacked by bandits. Joaquin could have easily been some Gaston type but instead we got a sincere, honest character who deepens the conflict of the film.

36) This freaking movie…

Originally posted by stevenscrivello

(GIF originally posted by @stevenscrivello)

37) The entire final fight of the film is wildly fun to watch.

Originally posted by kathon

It’s well paced, well choreographed, brings in all the characters we’ve met so far (living and dead), gives us a nice “dance” with Manolo and Maria, is filled with nice character moments, good humor, and has Joaquin decide he’s going to be his own man and try to sacrifice himself for his friends (it doesn’t work, he survives). It’s a great climax to the film.

38) “No Matter Where You Are”, the final song in the film, is a great ball of energy and love. But more than that, it let me know something I didn’t before…

Zoe Saldana can REALLY sing!

Originally posted by lghtmgnt

Just thought I’d share.

39) The final reveal, that Christina Applegate’s tour guide and the security guard are really La Muerte and Xibalba, is in classic tradition of magical realism and fairytale stories. It’s a nice ending to the film.

Originally posted by good-goodbye


The Book of Life is great, and truly under appreciated. It’s representation of Mexican culture is unique in the animated film landscape, and gives the film a unique visual and musical style. The acting is topnotch, and you can feel through the writing/directing/character animation that it is truly a labor of love for all those involved. A great film which everyone should see.

Up next: Alice in Wonderland (1951)

sakuraerza1  asked:

I have been following you since I got my Tumblr, and I have noticed the variety of questions you have answered. I don't know if you have already answered this one, but I would like to ask about outlining a series. I'm trying to write a novel series, but I don't know how to have an effective outline for it. I have seen many tutorials on outlining a novel but not a series. Any advise you could give me would be appreciated. Thank you.

Thanks for asking, and thanks for following my blog <3 :)  I do try to answer every question I get in the inbox, either with my own advice or with resources from people with better knowledge.  And I probably need to create a masterpost/FAQ to help people navigate my posts in the future >.<

So I’ve only written one series (technically a trilogy) and it was not of full-length novels, but I did have an outline method that might help you.  I’m a crazy-hard planner so if it’s a bit too thorough for your tastes, you can winnow it down to what suits you:

  1. Start with the first book.  Remember, if you don’t have the first book, you don’t have any books.  Really devote time to creating complex characters, an engaging and in-depth plot, and a solid setting that complements it.  You won’t really be able to outline anything else until this is done – because no matter how well-laid your plans are, the story will turn out different by the time it’s done.  That’s mainly because you’re discovering the characters in that first story, which makes everything tentative.
  2. Once you’re about halfway through, develop the ending.  By halfway through the story, you’ve got a solid cast of characters, a defined plot, and plenty of decisions left to make.  You probably only have a vague idea of how you want the first book to end – so now is the time to stop and plan the ending.  Make sure you’ve got a satisfactory finale that leaves an opening for the next book, but brings the plot to some sort of satisfactory conclusion nonetheless.
  3. Once you’ve got the ending, define the point of your series.  Is it plot-driven or character-driven?  If it’s plot-driven, what is the final point in the plot that you wish to achieve (e.g. the Hunger Games trilogy encompassed Katniss’s enemyship with President Snow)?  If it’s character-driven, how do you want the characters to evolve by the end of the series (e.g. Friends was about six young adult friends figuring out their lives and supporting each other UNTIL they found family, stability, and new support systems)?  This definition will help you to develop everything in between.
  4. Write a loose few paragraphs on what you definitely want in the stories.  Plot twists, character developments, big scenes – put it all in there.  Brainstorm a bit until you have plenty of story fodder, and then play with the order a bit.  Group together things that complement each other or are similar in theme/timing.  If there are holes, take the flexible subplots (e.g. a romance arc) and fit them in there.  It’s basically like going to the grocery store, grabbing 50 ingredients, and then rationing them out to make 5 delicious, whole meals.  Take your ingredients and make 3+ separate, full plots.
  5. Outline each story individually (or at least the next two for now).  This will be where you do the final shifting, getting things in order and seeing if they make good stories.  Some things will fit together and make for a compelling whole project – and from my experience, I’d guess you’ll wind up with a few extra plots/subplots/plot bunnies that don’t find a home.  Do the hard thing and cut them out.  If they don’t fit in any story, and they’re not enough to make their own story, they’re just a necessary casualty.
  6. Adjust as necessary.  As you develop characters and plots, things may change.  You may find that some subplots don’t fit with the theme of a certain book.  You may wind up cutting more and bringing back stuff you previously cut out.  When in this process, make sure you don’t delete any ideas.  Ever.  Anything might make a reappearance.  A series means you have a lot of space to fill with only a basic idea, so anything could be the difference between a bunch of books and a true series.
  7. Don’t get attached to anything especially the ending.  No matter how wonderful you think your ending is, by the time you actually get there, the odds are good that it’ll change completely.  Plans are great, but they’re never followed 100%.  Don’t get so attached to certain ideas that you’ll bend the true story – the best story – into knots trying to keep your favorite ideas in there.

That’s the best I could remember from my time writing a series.  In point #5 I left a link to my outline tag, with different reblogs of outlining techniques for your individual stories.  Outlining is so different for every writer, so I figured that’d be your best bet.

I hope this helps!  This is just my method, and there are thousands of other methods out there.  If you still need help or have other questions, my inbox is always open! :]  Good luck!


If you need advice on general writing or fanfiction, you should maybe ask me!

About the Realm of the Elderlings and fanfic, and also the greatest love story ever told

There are some stories that are not made for fanfiction. Some stories, some story worlds, are private playgrounds - you can visit, but you can’t build anything there, and all you can take home is memories.

Robin Hobb’s Realm of the Elderlings is one of those story worlds. Let me be clear - I’m not saying this because she doesn’t like fanfiction. The opinion of an author about fanfiction is largely irrelevant. If there is space in the told story for other stories, those stories will be written, one way or another. Fanfic can’t be stopped and it can’t be contained, and if your story allows it (not you, but your story) then it will happen.

The only way to stop that is to leave no room for it. If your story is complete, in a way that very few stories ever are, then fanfic won’t happen. Or, it will happen, but there won’t be much of it and it won’t satisfy. 

That’s what Hobb did with RotE. There’s just no room for fanfic. Oh, maybe there was once, between the third and fourth trilogies, when Beloved had gone away and Fitz was with Molly. I can see how some people might want to write a reunion scene or something similar, but there wasn’t much of it.

Fanfic lives in the liminal spaces, in the gaps between what we are told has happened and what might have happened, what could have happened. It lives on things we don’t know, about the characters, about the world. We need those mysteries to feed into the fic - what is the Giant Rat of Sumatra? How would the books have gone if Harry Potter had been a girl? There are mysteries in RotE, but they bind the story rather than freeing it. Don’t get it? Let me explain. I’m going to use the most obvious example, and please do remember that this is not a criticism, nor is it a complaint. The fact that I believe that is is not possible to write good fanfiction in this ‘verse is the highest compliment I am capable of.

Obviously a lot of fanfic is ship-orientated. Not all of it by any means, but you know, a significant percentage of fanfic is written so that two characters get together, one way or another. RotE has the ultimate ship. It spans seventy years and all of Fitz’s life. They literally bring each other back to life. They have a child together (sort of. It’s complicated). They…well, that’s a spoiler. And yet there is never what you might call a romantic resolution. Beloved admits his love to Fitz (freely, throughout the series, but notably when asked about the face they chose for Paragon), but Fitz only confesses his feelings for the Fool in a roundabout way, and not even to Beloved themself.

How is it that we have twelve novels (and not thin novels either - Assassin’s Fate took me almost fourteen hours of nonstop reading to finish, and the first time I read the books when there were only nine, I didn’t sleep for an entire weekend) of this bone-deep love, this absolute devotion and adoration and pining…and we haven’t flooded the world with it? Where are the AUs? Where are the coffeeshop AUs and the high school AUs and all the others? I can’t believe that Hobb’s (with all love said, stupid and reactionary) opinion on fanfic could have stopped that from happening.

I think I know what could stop that, though, and that’s Beloved. If there was ever a cypher in the world of fiction, that would be the Fool. We know so little about them - they’re a White, they’re a Prophet, they had three parents and a sister who loved them. We know about Clerres, and we know that they love Fitz far, far more than Fitz deserves. What we don’t know about them could fill volumes, however, and there’s one thing we never find out which makes writing shippy fanfic about Beloved and Fitz…tricky.

Yes, I’m talking about the gender thing. I’m not sure whether Beloved is genderqueer or genderfluid or what. The point is, though, that we know that the Fool is just as real as Amber is just as real as Golden is just as real as Beloved. We know that they have many identities, some of which are female, and all of them real, for a given value of real. We’re never told what the Fool’s plumbing is actually like, which is fair enough. It’s really none of our business, after all.

But it does make writing harder. Because we tend to think in terms of the gender binary, so in a lot of the fic I’ve read, Beloved is sort of…assigned a gender. Generally, it appears, male. But what about Amber, then? What if the Whites don’t actually have sex and gender the way we understand it (although from what we learn in the Fitz and the Fool trilogy it seems they do)?

We can’t write effective shippy fanfic in this world because we don’t know what actually goes on under Beloved’s clothes - and that’s sort of essential. And there just isn’t room for any other kind, not really. Taking the relationship between Fitz and Beloved to another level (I don’t want to call it the next level, because as far as I’m concerned there isn’t a level beyond what they share) is the only space in the world for more story. We could write more about the dragons, we could go back and write about Elderling society - but with that we run into the same trouble as we do with Fitz/Beloved - we just don’t know enough. And besides, the heart of the story is in its characters, so why would we even bother writing in a time where they don’t exist?

Is that actually bad, though? Wouldn’t assigning Beloved a biological sex in the canon actually make them…less-than? Less than what they are, which is amazing? We can grump that Beloved’s identity makes writing love stories about them more difficult, but what of it? Isn’t it amazing that Hobb has managed to create this character, this beautiful, gloriously complicated character, so complicated that it’s actually impossible to get deep enough into their head to write fanfiction about them? 

If pressed, I could write fanfiction about almost any character you care to name. I might have trouble with other things (I can’t imitate Wodehouse’s style well enough to write Bertie POV Jeeves, but I can fake Jeeves’ voice well enough, and I’m desperately intimidated by Watson’s voice) but I can get into the character’s heads, and I can play around there. But with this? I can’t get deep enough into Beloved’s head to write them, they’re just too complicated. And that’s fucking amazing, because you don’t often see characters with such depth and mystery - most mystery is contrived, but with Beloved it feels natural. It’s just who they are.

I think the point I’m trying to make is that what Hobb has achieved is a rare and beautiful thing - a story world that doesn’t need fanfiction. The plot is complete - there are no holes that need filling, and very few alternate paths to follow (very few that would be in character, anyway). There are no moments where the reader goes, not ‘I wouldn’t do that’ (there are many of those) but ‘Fitz wouldn’t do that’. The characters are either so well known that writing about them is redundant, or so cloaked in mystery that writing about them is almost impossible. RotE is like a crystal ball. It’s complete in itself. It doesn’t need anything more, and if you trying to add anything…well, the phrase ‘gilding the lily’ comes to mind. And that, my friends, is fucking amazing. Hobb has done what she wanted - she’s made it almost impossible to write fanfiction in her world. And isn’t the way she did it clever? She made the story so perfect that writing fanfiction in it seems almost like a desecration.

That’s not to say that nobody can write fanfiction in this world. I can’t stop anyone, and I wouldn’t if I could. I just can’t imagine reading it (I don’t need to. I tried, and was unmoved).

Since we’re already here, let’s talk about love. Specifically, let’s talk about the love story that is Fitz and his Beloved. When I was reading Assassin’s Fate, I kept hoping for…something. Some…moment of affirmation, that said that yes, they love each other. Yes, they’re soulmates. I thought it would be something like a kiss, something romantic.

I didn’t get a kiss, or a declaration. I think, though, that I got something better. Because their love is so…there’s so much of it, and it runs so deep. It’s written into their bones. It’s complicated and beautiful and so real. It’s so obvious that it doesn’t need that moment of declaration, that moment that says ‘yes, you are the love of my life’ because that’s basically what their story has been, one moment of ‘I love you’ after another. In fact, the only thing that was ever needed was that moment of ‘Yes, you love me.’ It doesn’t need a kiss, or sex, or anything other than the knowledge that they love each other, equally and eternally. It’s the kind of love poetry is written about, the kind of love every human being desperately desires, the kind that is so rare and precious that most of us can’t even understand it. We keep confusing it with want, with sex, with things that are irrelevant in the grand scheme of things, but while those things can be part of it, it doesn’t need to be.

Twelve novels is a long time to spend on a love story, but that’s fitting, because there’s never been a love story like this. The closest, I think, may have been BBC Sherlock, but that show was betrayed, and the love story had no culmination. Not so here. By the end of the series, you may doubt anything you like, but you will never doubt that Fitz and the Fool love each other as much as two people can love.

It’s a love story that spans seventy years and the fate of a world. Twelve books (not counting the ones that don’t deal directly with Fitz and the Fool)and almost three million words.

All I can say is that I’m fucking honored to have read it, and eternally grateful that @sarahreesbrennan flailed about it on her blog almost ten years ago, because the thought that I might have missed reading it is horrifying.

Cinderella

(In celebration of 100 followers! Love you guys so freakin’ much <3)

In a talk, you tell Tony about how you needed to take care of your alcoholic father and couldn’t remember him reading you any bedtime story.
He decides you need to know how it feels to be taken care of.

Relationship: Father!Tony x Daughter!Reader (no incest.)
Characters: Tony Stark; Mutant!Reader
Word counting: 800+
Notes: A bit of Angst, bad childhood, childhood memories, Tony is actually a very good father. Reader is a… Reader. 

This is a part of the Who is In Control series and happens around a month after the prequel (and 10 years before the actual chapters) . See the Masterlist and read the story

Y/N = Your name
Y/F/C = Your favourite colour
Y/L/F/C = Your least favourite colour
Y/H/C = Your hair colour

Originally posted by disnyedreamworks

Originally posted by iwantcupcakes


Tony watched as Y/N read a book, completely focused on its words and pages.

They’ve been together for a month and a half, and he was still learning a lot about her. Her favorite color was Y/F/C and her least favorite color was Y/L/F/C. Her favorite season was spring – because it wasn’t too warm nor too cold –, and least favorite was summer. She didn’t have a favorite food yet, because she loved food in general, and she ate like a frigging bodybuilder.

Also, she had a huge dictionary of curse words she had learned on the streets, but never used. (Thank God, because he didn’t know what he’d do if she did.)

Y/N had no idea what she wanted to do in the future, so she was interested on everything he would show her. Of course, Tony was always showing her something about engineering, but he was trying not to put pressure on in that department. He didn’t want to make her feel like he had high expectations for her future, but wanted the girl to feel free to do whatever she wanted to.

Her powers were a thing he had to learn how to deal with during in their first week. When Y/N had a particular bad nightmare – she had nightmares often, but didn’t tell him –, she could turn her room upside down in a blink of an eye. Once he had woken up to the sound of her windows and closet door slamming several times, only to find all of her books spread on the floor as well as some pieces of furniture and decorations in the wrong places.

“What are you reading?” He finally asked.

Keep reading

Twelfth Christmas

the series is as follows so far:

FirstSecond ThirdFourthFifthFifth Christmas, Part 2SixthSeventhEighthNinthTenthEleventhTwelfthThirteenthFourteenthFifteenthSixteenthSeventeenthEighteenthNineteenthTwentiethTwenty-firstTwenty-secondTwenty-third

———————–

It was their first Christmas where not a damn thing was happening. No one was sick, no one was running, no one was dead.

It was very impressive for them.

Everything had come out of storage, which, thankfully, Maggie and Skinner had packed up for them once they’d disappeared. Scully found all her ornaments, her tree, her lights and garland, her stockings and tree skirt. She had wanted to put everything up when they first unpacked at the end of January and perfectly willing, Mulder stood quietly while she talked herself out of it. As compromise, he played Christmas music and made her sugar cookies while she went out scouting for a job.

Part of the deal of their return to civilization was an ankle tracker for him and no law enforcement work for either, which meant Scully became the breadwinner without a badge and Mulder roamed free on their property, all 2 acres of it, his only contact with the outside world being online and any mailmen, delivery men and repair men that might come his way.

And in all honesty, he didn’t mind in the slightest. Scully got to have her family back, her interaction, her life and the smile she wore every day more than made up for his confinement.

&&&&&&&&

“Do you want to study tonight?”

Scully, happily exhausted from her hours at the lab, looked at him with eyes at half-mast, “nope. Classes are done for the break and I have two weeks of no homework.”

He gave her a classic Scully eyebrow as he handed her her mug of hot cocoa, “I know that but that has nothing to do with you wanting to study. You want to study all the time. You can study stuff and have it not mean anything in the grand scheme of homework.”

Blowing the steam across the top of the cup, watching it twist and dissipate into nothing, “am I that much of a geek?”

“But you’re my geek so it’s okay.” Squinting at her, “so, are you serious about the ‘no studying, no homework’ thing?”

Tilting her head and giving him a half-embarrassed, half-cocked, half-radiant smile, “probably not but right now, I am completely fine with leaving my medical books elsewhere and doing the decorating.” After a quick glance around at the boxes he’d carried down from the attic, “did you get them all or do you need me to carry a few down?”

“I’m here all day, Scully, I got them all.”

Looking sharply at him for a moment, she saw no ill-will or anger, just his relaxed look that spoke volumes about how he was still handling his confinement. Scully set her mug down then after planting a short kiss on his cheek, “then let’s get it on.”

“I sincerely hope you mean having wild sex with you amidst the boxes?”

“Let’s save that for under the tree once we’re done. I’ve got a surprise or two left in me and I think you’ll enjoy it more if there wasn’t a cardboard corner poking you in the ass.”

Mulder tugged the tree box open, “then let’s move it, woman.”

&&&&&&&&&&&

They hung up the things and this year, there were definitely a few more things, given Mulder had discovered online shopping and dollar stores all in the same sitting. He didn’t spend money unless he felt it absolutely necessary and not without discussing it with Scully first but he didn’t think she’d mind a few surprise accoutrements added to their holiday collection. More garland had been a must, as well as more lights to string up across the porch railing and around the windows. Scully had hinted that she wanted a Nativity scene and the atheist in him was squashed flat in the 0.4 second battle between belief and Scully, with the nativity scene arriving secretly to be put up when she wasn’t looking. She’d had to pick up the candy canes at the grocery store but had stated, with a smile, that it was the least she could do given she was going to be eating most of them herself.

When it was finally time to decorate the actual tree about an hour later, Mulder let her remove her ornaments, some of her last vestiges of an older life, a past life. The joining of two individuals into one house had culled unnecessary thing and things that didn’t seem as important as they had once been but given they’d made Christmas theirs so many years ago, all those items stayed with a bone-crushing vengeance, Scully not even allowing the slightly mangled original garland to go anywhere, because, as she admitted freely, he bought it and it was staying until they pried it from her cold, dead hands.

They put up her childhood ornaments, her father’s gifted ones, the Mulder years then, after only a slight pause at Will’s items, baby’s first Christmas ones abounding, she then hung the clear ornament with the house key in it, which they’d put back once other keys were made and the engagement ring ornament, now filled with a slip of paper on cotton that clearly stated ‘She said yes!” in Mulder’s hand.

After this one stopped swinging on its branches, she took Mulder’s hand, “think we should still get married one day?”

As soon as they’d gotten their hormones under control from the proposal, Mulder made a good point about how they should wait until things calmed down in their world before they went off and complicated them again by getting hitched in name, rank and serial number. He told her he would prefer to walk down the aisle without wearing his ankle jewelry and understanding completely, Scully had no problem, happy in the knowledge that one day she’d get to marry her most wanted unwanted man from the basement.

“Should we still get married?” he repeated, pulling her close by the waist, leaving just enough millimeters to wiggle fingers up her shirt, wiggle them again up, over and into the top of her bra, “I think we should. I just need to figure out a way to pry this damn tracker off me and we’ll run to Atlantic City and do the deed up right.”

“Atlantic City?” His fingers were making her intellect slip to repeating phrases, and she forced her mind to form at least one more complete sentence, “I thought I’d be getting an aisle in a church somewhere with mom and at least a priest who didn’t look like Elvis?”

“Nope.” Fingers moving inward to wrap around warm flesh, “I just said aisle. After the things I’ve done to you, I’m lucky to have made it through that one Christmas mass. I try that nonsense again and God will surely be like, ‘nope, not having it, move along’ and fire a lightning bolt straight up my …”

She cut his sacrilege off with a kiss and a grin, “shut up and get me out of this shirt, will you, please?”

He immensely enjoyed his time under the tree with her and early the next morning, he found her on the couch, in the dark, only the tree lit. Having dragged the comforter with him, he climbed over the back of the couch, enveloping her in the blue-patterned thick blanket. It went over her head, sending hair askew into her face and making her smile, the parts still visible to him rainbow lit from the lights of the tree. “Good morning.”

Her voice emerged as she pulled the covering from her head completely, settling them on their laps, her hair staying disheveled and adorable, “morning. It’s awfully early for you to be awake.”

“I felt you get up. I like you. I followed. I think they call that the ‘loyal dog response’.”

Cuddling up to him, “you are the best English Mastiff a girl could ever have.”

He took that as the compliment it was intended and kissed the top of her head, “so, are you gonna make me wait to give you your ornament or can I just do it now because I really don’t want to wait.”

“You’ve thoroughly enjoyed the online shopping experience, haven’t you?”

“Beats the hell out of Christmas crowds and I get to talk to the UPS guy for a few minutes. Win, win for me.”

Pulling back in horrified shock, “you got something going on with the UPS guy?”

“No more than you did with that pizza man.” Tweaking her nose, “move so I can go get your gift.” Move she did and he returned a minute later from his office, a small carton in his hand. Dropping back beside her, he set it on her lap, “Merry early Christmas, Scully.”

Amused, she opened the paper, finding not a round bulb but her gold FBI badge, now with a hole in the top and a ribbon through it, hook on the end, “you ornamentized my badge?”

“Totally.”

She burst out laughing then hauled up from the couch to hang it, “it bends the branches. I’m gonna need to hang it on two of them.” Coming back his way, she dug under the table beside them, moving newspapers and other detritus before handing him a wrapped gift, “here you go.”

Taking the box, he found a set of ten carved candy canes, all different sizes and types of wood, each with signature stripes whittled in barber pole fashion, sanded and varnished in various colors, quietly waiting to be hung on the tree. He picked up one gently, “you made these?”

“Yeah. Took me most of the year. Been using wood from around here. I’m very lucky you take naps in the afternoons.”

“Is that why you never come lay down with me?”

Shrugging, she ducked her head in embarrassment, “although I have a feeling I’m going to have to retire my pocket knife for awhile. School is getting too busy and I barely got these done.”

With a chuckle, he settled the box on the coffee table, then attacked her on the couch, neck first, then belly as he shoved her shirt up with his nose, “scalpels are just as good as pocket knives.”

“That is not something you normally hear at Christmas.”

“Well, we’re weird. Get over it.”

Wiggling out of her shirt, “I think I’m under it, Mulder.”

Laughing into her neck, “under it, indeed.”

#PLL Theory: Amoji and Uber A/AD are two different people.

We’ve given it major thought and, after thinking it through, even developing a migraine in the process, we’re almost sure that the Amoji who was texting the girls in PLL 6B is someone completely different to AD, the person sending the texts after Hanna was kidnapped for confessing to killing Charlotte. 


This theory takes us back to the flashforward; before Charlotte’s trial, someone was blackmailing Melissa with the tape of her confessing to killing Bethany Young. Melissa was told to drop a certain amount of money off to a disclosed location, and after doing so, Charlotte turned up dead. Let’s not forget, Melissa was supposedly back in town after Charlotte was killed, but Peter confirmed Melissa was actually in town before Charlotte was killed, as she was delivering the money. Spencer also says the first payment was made while Charlotte was still in lockdown, which means that Charlotte may not have been the blackmailer. This does not mean she wasn’t in on the blackmailing. 

Now, why was Charlotte getting someone to blackmail Melissa? Because she, along with whoever the blackmailer was, needed money. We’re playing fill the gaps in here, so this is just our take on it. We believe Charlotte never truly got better over the five years. She was using Ali, pretending to get better, so that she would finally be declared sane and released from the sanitarium. Charlotte was also using Rollins, making him fake a relationship with Ali, so that he would be one step closer in receiving funds from the Carissimi Group. This is what Charlotte wanted; she wanted money. She needed money. She must have had some plan to use this money and escape, run away somewhere with who we believe was the person blackmailing Melissa; Wren Kingston. 

Keep reading

anonymous asked:

What are your thoughts on the musical episode? Are you excited? Don't really care? Think will be a huge mess?

I am so stoked! I am adamantly calling it Once Upon a Time with Feeling until the title is released. I don’t care if it’s potentially blasphemous - even if in all my optimism, I know them reaching Buffy levels is probably unlikely.

So here’s what happened. I thought a musical wouldn’t really work for Once Upon a Time and I was very skeptical about the idea… then the announcement came and well. I was giddy and unexpectedly over-the-top ridiculously happy about it? I should have known. I’m a total dork. I love musical. I saw Wicked three times in two days once. My favorite movie - I claim it’s Dogville, but it’s really Sister Act. I read the book that turned into Pitch Perfect. I keep hoping to just one day in my life wake up and find we’re doing everything in song. So okay, maybe I’m… unique.

Since it’s happening and not everyone’s happy about it, let’s look at potential bright sides? At the very least, we’re going to get to hear the actors sing. Cast has some really nice voices! It might be beautiful or cute or unexpected. At the very least it’ll be silly and funny to have this weirdo Disney fairy tale world with costumes and dancing and bursting into song. If you go into it just expecting to get some laughs out of it, I doubt you’ll be disappointed. We may have to loosen up a little. Sometimes you go into an episode and you’re just left… not feeling much of anything. This time. Love it, hate it. Cringing, laughing, feeling. Everybody’s at least gonna have some very strong feelings about it!

Where it gets more interesting is that it’s potentially - of course what else would I say - good news for Emma and Regina. Rule number one for musicals - as in, first chapter in Musicals for Dummies 101 - is that you have to give your characters a reason to burst into song. Musicals give insight into how characters are feeling, they voice emotions in a way that normally doesn’t happen and your story has to fit that concept. Part of the success of Buffy’s “Once More With Feeling” was that apart from the catchy songs and great delivery, lyrics, direction and very good balance of humor and drama, it was an explosive episode that really drove the plot forward. They built the episode around this concept. If you haven’t seen it, basically a dancing demon forces all of the characters to randomly burst into song. One by one they reveal secrets as they are singing. Either to each other, or to the audience.

We’re currently in the land of Untold stories. It’s been heavily suggested all of our main characters are keeping secrets. If there was an episode to get into their heads and reveal some of those stories they don’t want told, this would be the one.

Now the reason I am maybe most stoked about it, is that it fits completely with @colyssa ‘s Women Who Run With the Wolves meta, and more specifically this part of it and this submission she received recently. As she says, there is no way they did not use this book. I’ve started reading recently and I completely agree. Without even getting into the content too much, there’s the title, which… actually happens on the show in the episode when Ruby finds her mother.

The first chapter is literally a scene in the pilot.

The sixth chapter is a recurring theme.

The fifth chapter shares its title almost to the letter with the 7th episode of Once Upon a Time. Incidentally it’s also the chapter that completely matches Emma and Regina’s story. The author uses a tale called the Skeleton woman as a guideline to explain what it requires to enter in a relationship with someone. You’ll have to read Colyssa’s meta for the details, but the part we are interested in is this one.


“Then, while lying beside him, she reached inside the sleeping man and took out his heart, the mighty drum. She sat up and banged on both sides of it: Bom, BommI… Bom, Bomm!

As she drummed, she began to sing out “Flesh, flesh, flesh! Flesh, flesh, flesh!” And the more she sang, the more her body filled out With flesh. She sang for hair and good eyes and nice fat hands. She sang the divide between her legs, and breasts long enough to wrap for warmth, and all the things a woman needs.

And when she was done, she also sang the sleeping man’s clothes off and crept into his bed with him, skin against skin. She returned the great drum, his heart, to his body, and that is how they awakened, wrapped one around the other, tangled from their night together, in another way now, a good and lasting way.”


Might sound a little weird out of context, but once you read the explanation, it makes sense. Hearts being taken of chests is already standard practice on Once and the references to music here are obvious. It’s also in sync with this myth, because the part before this one focuses on a tear, which we saw represented last season.

So when looking at it this way, suddenly the musical episode - while undoubtedly frivolous in its execution, is crucial and may have been planned for a long time. Or at the very least, they knew that if there was going to be a musical episode, this would be the time for it and that’s why they couldn’t confirm before reaching season 6. It seemed sudden and unplanned, but it probably isn’t.

To end, a summary of the seven steps - fitting a show going for seven seasons - from the book so it’s more clear where we are at and how the musical fits in the development of Emma and Regina’s relationship..


While the Skeleton Woman could be interpreted as representing the movements within a single psyche, I find this tale most valuable when understood as a series of seven tasks that teach one soul to love another deeply and well. These are: discovering another person as a kind of spiritual treasure, even though one may not at first realize what one has found. Next in most love relationships comes the chase and the hiding, a time of hopes and fears for both. Then comes the untangling and understanding of the Life/Death/Life aspects of the relationship and the development of compassion for the task. Next come the relaxing into trust, the ability to rest in the presence and goodwill of the other, and after that, a time of sharing both future dreams and past sadness, these being the beginning of healing archaic wounds with regard to love. Then, the use of the heart to sing up new life, and finally, the intermingling of body and soul.


If you’re not into musicals, but you wouldn’t exactly mind Emma and Regina going beyond the platonic, I’d say take a look at what comes after singing up new life and you may want to just hang in there…

Hunters on the Hellmouth Masterlist

Setting (which is a spoiler in and of itself): Chapter 1 begins toward the end of SPN season 5, and before BTVS season 7. Wanna know how that works? Gotta read the story.

Characters: There are over two dozen canon characters and a few OCs by series’ end. Yes, your fav is probably here in some form.

Word Count: So many.

Warnings: Canon violence, alcohol. Much more swearing. Some chapters have sexual content, but it’s not super explicit because that’s not how I roll. (For example: this is actually something I cut from this series.) Anything that could be particularly triggering will be noted at the beginning of the chapter.

Image by the lovely salvachester

1: Meet Me at the Cemetery After a last-minute rescue from the clutches of Luficer lands them in Sunnydale, California, the Winchesters run into an unusual hunter. (wc 3096)

2: Prophecies and Milkshakes The Winchesters learn more about The Slayer, and Buffy tries to convince them to stay in Sunnydale for a while. (wc 4271)

3: The Winchesters Return In the wake of a shocking discovery, the Winchesters return to Sunnydale, hoping to find a way home. (wc 6421)

4: The Favor The Winchesters owe Buffy a favor, and she’s calling it in. (wc 3625)

5: First Patrol There are some huge differences between being a hunter versus the Slayer. (wc 3855)

6: The Bronze Buffy puts the Winchesters’ hunting skills to the test in Sunnydale’s favorite hangout. (wc 4267)

7: Merry-Go-Round Buffy and Dean work out their issues. (wc 3702)

7.5 Drabble: Sam Visits Anya Sam tries to get some info from Anya, but first, cookies. (wc ~500)

8: Poker Faces Buffy and Dean may have worked out their differences, but Sam and Xander are still worried about the secrets the other party holds. (wc 4783)

9: Stay the Night-Mares Buffy and Dean’s casual relationship hurtles toward something deeper as they discover more about each other. (wc4460)

10: Demons While everyone is busy researching the new monster in town, Buffy does some digging into Dean’s past. (wc 6853)

11: Friends with Benefits Dean mulls over his unexpected connection with Buffy while they fight an outside threat. (wc 4270)

Keep reading

The Contest-Part 11

To celebrate Supernatural’s 15th season, the producers have decided to hold a contest to cast an unknown in a recurring role as Sam’s rumored love interest. They are doing open casting calls all over the country. Your best friend Nikki wants to go and she drags you along.

A/N:  My inspiration for Nikki is the one and only Red, @oriona75 . So I’m actually telling two stories here, Jared and Y/N’s, and Sam and Gemini’s.  It flips back and forth, so try and keep up! :)

Characters: Reader, Best friend Nikki (OC), Jared Padalecki, Jensen Ackles, Misha Collins, Mark Sheppard, Cliff, Emily (OC) other Supernatural cast and crew

Part 1 (all parts are linked)

When I walked on set the lighting guy, the camera guy and one of the grips were huddled in a corner laughing at something on one of their phones.  They froze as soon as they saw me.  It had to be the YouTube video again.

Nikki’s question and the guys and my subsequent reactions had been played numerous times until everyone on set had seen it.   Jared still cringed every time he saw it.  I had lived with Nikki’s complete lack of filter for most of my life so after the initial “What the HELL were you thinking?” I was over it.

We were back at work after the con, and filming was starting on the last two episodes before the winter finale.  This week we would be filming what DID happen between Sam and Gemini in his room and the fans were dying to know. There were some really interesting plot twists coming up for Gemini, and I couldn’t wait to shoot them..

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