i find this scene very entertaining

The happy INTP
  • is basically a child
  • hums something from their favourite TV series, probably
  • will gesture a lot 
  • ceases to question why they are happy - they just are!
  • delivers Ne-ly jokes about everything and everyone
  • earns uproarious laughter (INTP advantage: being underestimated 24/7)
  • giggles non-stop, which surprises everyone
  • did I say happy INTPs need parental supervision yet?
  • attempts to entertain their close enviroment (not the entire scene ok, that´s a Se thing), is actually hilarious because of their brutal honesty
  • wiggles their eyebrows :3 
  • 100% odd (the rarest pepe you can find)
  • but very cute. their Fe-joy is pure as they are not used to be in happy mode often… treasure these moments (your Si will be grateful)
  • will start imitating people with scary accuracy, catching everyone off guard with their acting talent
  • sounds like an ENFJ on helium, also, they talk faster
  • exaggerates eeeeeeeeeeeeeeeeeeeeverything
  • gets told they are on drugs (“You´re so different today! You must be high??!”)
  • cannot come up with a decent `excuse´ for being happy without drugs - seriously, they don´t need one!
  • caresses other people/ establishes body contact without fear
  • that freaks most of the INTP´s friends out
  • doesn´t take things seriously anymore and people mirror this
  • anticipates the mood drop, but tries to enjoy their current happiness, thinking of similar events in the past which helps to maintain the feeling
  • is no longer a myth, but a walking cup of joy!

- Love, Admin Ti. 

Feel free to add more!

anonymous asked:

First off - I love this blog! I also have a question: I am a fanfiction writer and I'm currently struggling between the advice I've seen to cut all unnecessary scenes, and feeling like things are moving to fast. I feel like I'm jumping from one important plot-advancing scene to the next, and it's making relationships (romantic and platonic) and plot arcs happen too quickly. I don't want to just add in filler scenes, or only have 'big' scenes. Do you have any advice on finding a balance? Thanks!

I’m very glad you like my blog!  Thanks for your question :)

Filler is a complicated topic, because the term means different things to different people.  Some people think of “filler” as fluff scenes, just for entertainment and no plot advancement.  Some people hear “filler” and they conjure up images of overly-descriptive opening paragraphs, philosophical character dialogue… in essence, free license to leave work unedited for the sake of pacing.  Neither of these definitions are what I consider good writing.

However, I do use filler in my stories – just not this kind of filler.  If there isn’t any falling-action in our stories, we end up with what you’re facing right now: racing plot arcs and jumpy character development.  So what makes something qualify as “good filler”?

  • It’s entertaining and engaging.  No matter what part of the story you’re writing, it should be entertaining for the reader.  Writing is art, but novels are products – and your goal isn’t to get your readers’ money.  You’re trying to get their time, in a world where time is a valuable and limited currency.  You only get so many pages, so don’t allow any of them to be boring.
  • It reveals information about characters or setting.  You only get so many pages, so don’t waste time that could be spent in development.  Even if it’s in small ways – revealing a character’s relationship with their mother, an insight into your world’s culture, a difference between two characters’ worldviews, etc. – your readers will feel secured by this new information.  They won’t have to look over what they’ve read and wonder if they missed something crucial.  Whatever scene you’re writing, teach your readers something with it.
  • It advances the plot.  Filler is a great way to subtly move subplots forward or set things in motion that you can call back later.  I’ve found that filler scenes are best for stashing your Chekhov’s Guns, or pulling out your Red Herrings.  Even smaller developments, like emotional bonding between characters or an addition of a lighthearted subplot, can provide relief from the main plot without seeming like a throwaway piece.

So when planning “relief” scenes amidst plot-heavy chapters, make sure that they have at least two of these three qualities – otherwise they’ll probably come out in revisions, and you’ll have a pacing problem all over again.

If you have any further questions, hit me up and I’ll answer presently.  Thanks for your question, nonny, and good luck!

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

I’m only going to say this once: MOST KPOP FANS DO NOT FETISHIZE ASIANS!! That is a very derogatory way of putting that we find some Asians attractive, does me thinking some of them are cute mean that I don’t also find Americans or Europeans cute? No.

We simply enjoy the culture Kpop provides; it is a clean form of entertainment so that I don’t have to watch all of the people I look up to caught smoking weed. I have a TV show where I don’t have to see a sex scene every 15 minutes.

Don’t group Kpop fans together, we’re all different.

Violent “Romance”

Originally posted by sooper-dee-dooper-natural

Request: Can you do a request where Dean and Sam fight a siren and make it a super cool fight scene? -Anonymous

Sorry if this wasn’t a “super cool” scene but I tried, so I hope you like it!:) This one is not really a proper imagine… but, enjoy!!! (sorry it’s a bit short)

Word Count: 670

(sorry the gif is very random and dizzying…lol)

Earlier on Sam and Dean are working a case on what they believe is a siren. They collect the blood of a victim and a bronze dagger to kill the siren with…As they find out that the siren works at an “entertainment” and bar they go in to find out which one they are working with. When Dean narrows it down to two girls he soon figures it out, after some flirting they planned a date at her apartment for tonight at 6’ sharp.

*Several Hours Later*

Sam and Dean Approach the apartment door. Sam ducks behind a huge potted plant as Dean knocks on the door. A slender girl with long auburn hair opens the door, leaning on it in a seductive way and motions for him to come inside. She removes his jacket as he pulls out the dagger. She screams out in anger, queuing Sam. He busts through the door grabbing the knife just as the siren sprays her saliva into Dean’s mouth. He grasps at the siren blocking the saliva from making contact. Sam is shoved back into the wall. He grunts as the brick wall dents under the immense pressure of his fall. Dean and the siren go at it as Sam crawls toward the knife. The siren kicks it up and tosses it out the window. The window smashes, as she tells Dean to sit on the couch like a good boy until she finishes Sam, he runs at her but is forcefully shoved into the couch, knocking him out. It no longer needs its true form as it magically sheds away its human form into an ugly, hollow-eyed bitch. It marches at the wounded Sam lying on a pile of crumbled furniture and walls. Dean wakes up and realizes through the broken window that the knife is out there. Dean stands up and glances at Sam making sure that his plan would work in time before she got Sam. He takes several steps away from the window, back in black or something like that  should be playing right now…he hears the punch of the thing hitting Sam’s face, and it jolts him back into reality. He sprints towards the window and cannonballs out into the shattered glass lining the streets. He lands on about a million little glass shards, all cutting into him, he shrugs it off as he hears the people screaming and grabs the knife running for the entrance to the apartment building as he hears Sam screaming. He must have been really hurt. He runs up the stairs with no time for the elevator. He reaches the third floor and darts to the room number 306.

He ducks through what was left of the door after Sam’s entrance. The siren turns away from the bleeding Sam and turns to Dean the siren pushes him against the wall in a choke-hold as Sam struggles to his feet. Sam comes up behind the siren while it is focused on Dean. Dean drops the knife and eye-gestures from Sam to the knife. Sam struggles towards it. He grabs it, gripping it tightly. He taps the sirens shoulder, plunging into its stomach as it turned to face him. He removes the knife, replacing it into its heart, the retracting it again. The siren falls to the floor in a groan. Sam collapses and Dean Takes in all that has just happened. He runs to Sam’s side, lifting him to his feet and assisting him to the motel to further tend to his wounds.

“Nice knife slip back there,” Sam mutters as Dean tends to his wounds. “You’re pretty banged up though, shouldn’t I be playing doctor on you?” Sam asked Dean with a face full of concern. Dean mocks Sam with baby cries, as they both laugh. “I’m fine Sammy.” Dean grins amused with himself, as Sam chuckles at his child-like cheesiness, “alright then…” Dean always has to be the last to speak, “And, they all lived happily ever after…except the ugly hell bitch.”

ENTERTAINMENT WEEKLY: What have you done so far in Civil War that’s exciting for you?
Sebastian Stan: Oh, it’s so much fun. And it can be so nerve‑wracking, too. I’m really in awe of our stunt coordinators, Sam Hargrave and James Young. We had them on Winter Soldier and they’ve just given a whole different energy to these movies. The fighting is just very grounded. It’s brutal. It’s very physical. I kind of feel like I’m really learning how to fight, to be honest!

ENTERTAINMENT WEEKLY: The last time we saw you in Winter Soldier, your character was defeated, and looking at his old face, James Buchanan “Bucky” Barnes in a museum display about his squad in World War II.
Sebastian Stan: [Civil War] pretty much picks up where we last see him in the post‑credit scene in Winter Soldier. Not exactly at the museum, but it’s right around that time. It finds him right in the middle of making significant and terrifying discoveries about himself and his past. And that’s where he’s at the beginning of this movie.

ENTERTAINMENT WEEKLY: Who is he now? Or is that the question he’s asking himself?
Sebastian Stan: This movie certainly deals with what’s happened to him. I mean, what have we gotten as a result of Bucky and the Winter Soldier? You know, here’s the guy when you merge the two. This is what came out. To me, he’s never really going to be Bucky Barnes again. There’s going be recognizable things about him, but his path through the [experiences of] Winter Soldier is always going be there, haunting him. He recognizes his past, but at the same time he’s sort of a new character, too.

anonymous asked:

I do love scenes where Aria is being incredibly crass and Tevos is like "excuse you" and shuts it down. Hilarious and very entertaining, so anything with more of that please. :)

A Humble Suggestion


Rating: NSFW
Word Count: 1,532 words

Summary: After another necessary and lengthy span of time apart taken to attend to their demanding lives, Aria finds herself with business on the Citadel and decides to pay the asari councilor an evening visit… with a few suggestions for making their bedroom activities a bit more interesting.

Keep reading

Okay, I’ve dealt with more than a few babies in my life, so I noticed something in last night’s ep: the progression of Ezra’s hold.

First, he doesn’t know how to hold the kid. He experiments a bit before settling into this hold.

Okay, I understand that Ithorians have drastically different head and neck arrangements that probably make “supporting the head” meaningless, but I’m pretty sure they still have a spine. If most people find sleeping in a U-shape uncomfortable, imagine the effects on a baby’s spine. Especially when you’re running up stairs.

A bit later, we get this.

Ignoring Blueberry doing his best to entertain the kid, he’s still holding him wrong. He’s supporting him, sure, but he’s not holding onto him very well, except for having one hand around his foot. Not as horrible as the previous hold, but not safe at all. 

And then, of course, we have this adorable scene.

After which this happens

Look at the difference. He’s supporting him with his head up so the baby can look over his shoulder and recline comfortably, he’s holding him safely and most importantly, he’s holding him closely. Holding your baby isn’t just a means of transport, it’s vital to their mental health. They are scared and alone when they’re not being held, so they need to feel encircled and close to their caregiver on a regular basis.

My guess is that the connection ran both ways. While Ezra calmed Pypey down, he also subconsciously figured out how Pypey wanted to be held.