i think i have a pretty good idea who you are

Dr Maru’s notes, translated

As an Assyriologist-in-training, I was pretty excited about cuneiform’s little cameo in Wonder Woman- there are no films at all about Mesopotamia, so even three seconds of flipping through a notebook of the languages I study was pretty exciting to see on the big screen. Now, I assumed at first that the writing in Dr Maru’s notebook, would simply be gibberish, but one thing about it stuck with me: how well copied the letters were. Now, Cuneiform writing was designed for clay and stylus, and it is BRUTALLY hard to write cuneiform symbols with pen and paper. You’d think you could just draw a bunch of triangles, but nope; the system was so clearly designed to use nuances only possible with stylus and clay, they’re nigh on impossible to accurately reproduce using pen. And whoever wrote that piece of paper did a damn good job of it. So, I remained convinced the text might actually have some meaning, and when I got home I started tinkering with it.

First things first: though the notes were described in the film as “Sumerian and Ottoman”, they’re not Sumerian. Dr Maru’s notes are very clearly written in the quite distinctive script of Neo-Assyrian Cuneiform, which was used on official inscriptions of the Assyrian Empire from around 1000- 700 BC. Sumerian died out as a spoken language in around 2000 BC and though it continued to be used in writing long after that in the same way Latin was in Europe, it was probably never written in the formal Assyrian script.

I’m going to safely assume the man who mistakenly called the page “Sumerian and Ottoman” got it wrong, but the fact that Diana doesn’t correct this, despite her vastly superior knowledge of ancient languages is interesting. Consider this though: historians estimate the destruction of the site of Hissarlik, which is thought MIGHT be the inspiration for the Troy legends to around 1300 BC, around the time of the Bronze Age collapse and dawn of the Greek Dark Ages. If we take this as the end of the Greek Mythic age and the hiding of Themiscyra in the DC Universe, Diana would only have been able to study Cuneiform scripts written before this period so she would know only Old Babylonian Cursive, or possibly even only Old Babylonian Lapidary. Neo-Assyrian script would be just legible with effort, but difficult for her to read.

Now, the way cuneiform works is that any one cuneiform symbol can represent one or more alphabetic sounds, OR syllables, OR entire words. Most stand for a number of those things, but some represent only one. The symbols that represent entire words are called Logograms, and they remained largely consistent through all the changes of the cuneiform writing system. If Dr Maru’s notes were primarily written in Logograms (which they turned out to be), it would make sense for Diana to still be able to read them despite the considerable changes between Old Babylonian Lapidary and Neo-Assyrian script, and also that she wouldn’t have to know Assyrian-era Akkadian to understand the logographic signs (because they represent whole words at once rather than spell them out alphabetically, they can be understood by speakers of multiple languages who know the signs).

So having sorted all that out, I began to translate. Virtually all the symbols were logograms standing for words like mountain, woman, king, builder etc, but a limited few stood for single syllables like “ru” or “ti”. This made no sense, because the signs used were consistent enough with the actual context in the film to make some sense and logically repetitive. Whoever wrote this knew what they were doing. Why intersperse them with random letters? I finally realised: Dr Maru is a chemist. The way her code works is that she uses mostly logograms, but uses signs for syllables when those syllables are our modern symbols for chemical elements. Every sign where a syllable-only translation was my only option, that syllable matched up with the abbreviation for a chemical element in the periodic table.

So, working with the assumption that Dr Poison’s code technique is using Logograms to represent whole words, and the symbols for sole syllables like ka, ga, la etc in their standard transcriptions from cuneiform to represent chemical elements, here it is at last, the first page of Dr Maru’s notebook:


 

To divide the town, one unit of the weapon to the throne of the builder: to please the builder, in the company of the god: lithium, 1 grain/seed of europium. 1 daughter of gold woman -  yours. Country [given?] to god and then [to] lord/god/king. Ruthenium possibility, carbon disulfide*, and then rhenium. May it be pleasing to the country. Animal shoulder** Uunhexium*** . Lord/god and then gallium, and then radium. Weapon, iodine, administrator.


*This sign can mean “tree, wood” or, just stand for the sound “s”. So, i was left with a choice between carbon and sulfur, and settled on the compound

**I have no fricking idea why that’s in there, but it’s definitely that sign. Maybe she wants to make a pot roast and scribbled it down? Someone draw me happy dr maru and her pot roast pls

***This sign was VERY hard to identify, but i finally settled on the Old Babylonian Lapidary sign for “uuh”. Uuh also happens to be the chemical symbol for Ununhexium or Livermorium, a rare earth element not identified until the year 2000. This is strange, because this sign is CLEARLY Lapidary, while all the others are in the Neo-Assyrian script. So my conclusion is that Dr Poison isolated Uunhexium 92 years ahead of the game, it’s her big secret, and decided it needed a unique Logogram of its own, for which she adopted the sign for Uuh.

What criticism feels like to a creative person

Browsing Reddit, I came across an extremely effective post about why some creatives respond very poorly to criticism, or even for those of us who respond well, why it can feel like an attack even though in your head you know it isn’t.

Originally posted by enjoy-the-life-baby

Criticism creates a mental conflict, but not always that kind.

Imagine if you wrote a final essay for your literature class, really did your best on it, turned it in, and the teacher gave it 100%. Elated, you take it home to show it off to your dad. Your dad says “You got a D? You really should have tried harder.” You think WTF, you squint at the paper and you’re pretty damn sure it says 100%, A+, Good work. But your dad says “No, it clearly says 63%, D-, disappointing.” Then you start to realize you’re living in some kind of warped reality where your dad sees something on the paper completely different than what you see, and you start wondering if you even know what’s real anymore.

This is what it feels like to get a criticism. It casts into doubt your own definition of “good” which is probably the basis of your entire creative process. It’s not even an issue of admitting weakness. Admitting weakness is easy. What’s not easy is having your instincts cast into doubt and not knowing whether to trust  yourself anymore.

  • Do I trust this critic?
  • Do I trust myself? Some combination of the two?
  • Do I stand by my decisions or not?
  • Do I make changes even though I don’t understand how they will help?
  • Will the changes completely undermine the artistic vision I wanted for this?
  • Will it defeat the whole point I was going for?
  • I can’t feel the emotional reasoning behind making changes, so how will I know if my change is for the better or worse?
  • Is the critic just not the right audience for this? Is the critic biased? Is the critic just having a bad day?
  • Should I ignore them altogether, and just keep doing this for the people who like it?
  • Are my fans wrong and simpleminded?
  • Am I even doing anything of significance?
  • Should I give up here?

These are all questions which artists ask themselves when they receive criticism. They’re tricky, ambiguous questions that don’t always have a correct answer. Many newcomers don’t even know how to approach these questions, so criticism can often feel like a personal attack even if both sides mean well.

That’s not to say that criticism itself is bad, but if you get a better idea of what a criticism is doing psychologically to the receiver, you might find yourself offering more effective, well-received advice.

This ties in pretty closely to the advice I often give on this very blog, about how to deal with negative feedback; above all, trying not to dwell on it. Before you give any response, always take time to calm down.

Originally posted by gabedonohoe

This is a pretty universal problem that affects all creatives across all media. You’d have to be as emotionless as a stone to not fall prey to it occasionally.

Part of being a writer is building up creative confidence. This is the faith in yourself to be able to write something and put it out into the world, and to know, deep down, that this work has value, to you and to your audience.

You may, later, discover that this work isn’t all that good, but that doesn’t matter. What matters is that it was a stepping stone to the person you are now, and the work you’re producing today.

Whenever you create a piece of work, make sure you internalise why you made that work. What it meant to you. It doesn’t matter if that work was a prize-winning literary novel or a scrawling of Vegeta from DBZ drawn in pencil on lined paper. If the work expresses something you can’t contain, something you have to get down on paper, over time you’ll develop the creative confidence to accept that even if it’s “bad”, that isn’t what’s important. The end result isn’t as important as the work itself.

Creative Confidence isn’t something you just develop overnight. It takes work. It’ll probably take a few embarrassing moments too, and those will be the hurtful types that’ll lead to “arguments you win in the shower” 5 years later. It takes different durations for different people. However, if you work at it, it’s something I believe is within the reach of everyone.

Find your Creative Confidence; I’m sure you can.

p-dots  asked:

I was wondering if you knew anything about the situation with Billy the Asian Elephant at the LA Zoo? I just received an email from the Zoo that a city council motion was filed to remove Billy from the zoo, and they're still trying to fight to keep him. A lot of people claim he appears stressed which is why there's been a big fight to get him moved. I don't really know a lot about elephants so I don't really know what side is best to take or what sources to take seriously (other than the Zoo).

I’ve been following the story of Billy pretty closely. I’m glad you asked - it’s the sort of thing I think is really important to talk about, because people need to understand what’s going on behind the nicely framed stories about animal activism you hear in the media, but I’m never sure how much of that sort of animal industry politics followers are interested in reading. 

The reason this specific instance is so important is because it’s a hell of a lot more complicated than ‘sanctuary vs zoo, which is better for the animals’. The decision to go after Billy - and only Billy, and only right now - looks to me like a really strategic political decision from the animal rights movement, and it falls in line with what I’ve been researching the history, evolution, and MO of the animal rights movement. As I’ve been learning more and more about how animal rights organizations and their partnered sanctuaries conquer and divide to achieve the change they want to see, a very specific pattern of action has started cropping up and this situation exemplifies how they’ve learned to use legislation, the legal system, and the good intentions of the general public to remove animals from zoos. This explanation is going to seem a little bit like jumping at shadows, but this method of petitioning cities to seize zoo animals as assets - and the really conveniently timed fallout that would result from their success - is textbook animal rights organization planning. 

So here’s what you need to know - if Billy is sent to a sanctuary, the LA Zoo would lose their AZA accreditation. They’d likely then be subject to the new wild animal performance law that’s got major support in LA right now, because only AZA institutions would likely have an automatic exemption. The combination of loss of accreditation, potential inability to do public education and outreach, and the ability of the AR groups to spin the situation as ‘AZA kicked them out for being abusive to their elephants’ would massively damage the viability of the zoo as an institution for the foreseeable future… at which point AR groups could easily petition the city to seize more animals from the collection and send them off to sanctuaries, because it’s now “well known” what a horrible institution the LA Zoo is. That would normalize the idea that animal rights organizations and city officials with no professional animal experience know more about animal welfare than the best zoological institutions in the country, and would set a scary precedent regarding what sorts of institutions the public will accept the animal rights organizations condemning and removing animals from. With that sort of potential fallout - and all of the pieces of the puzzle having been successful, individually, within the last decade or so in regards to other animal rights campaigns - this really is not about a single elephant at all. 


AZA has this one really important rule in their accreditation standards, and it boils down to: any zoo they accredit must be considered the experts and have final say over the care of their animals. If anyone external to a AZA accredited zoo overrules that zoo’s choice of care for their animals in any way, that zoo loses their AZA accreditation because they are no longer viewed as having ultimate control over the welfare of their charges. This is really important when it comes to elephants, as the Toronto Zoo lost their AZA accreditation over exactly this situation: animal rights activists caught wind of TZ’s plan to transfer their elephants to a facility in Florida where they’d live in a bigger herd, and petitioned the city council to send the elephants a the Performing Animals Welfare Sanctuary (the same one they want Billy to go to, which has a known history of uncontrolled tuberculosis infections on the property to this day). The Toronto Zoo is a municipal zoo - which means its animals were city property - and the city council chose to claim the elephants as assets, ignore the evidence of animals with active TB already living at the chosen facility, and then overruled the Toronto Zoo staff’s due diligence about what choice would provide the best welfare for their elephants and sent them away to PAWS. Having been overruled by the city council and having lost control of animals in their collection, the Toronto Zoo lost their AZA accreditation. (They later reapplied and were re-accredited). 

So, if the animal rights activists can convince the city council to claim Billy as an asset and remove him to PAWS, it would really damage the LA Zoo as an institution. Their credibility in the eyes of the public would be destroyed, they’d lose exemptions from federal legislation due to losing their AZA status; they’d be forced to pull out of multiple major SSPs (because only AZA institutions are allowed to house animals in the Green level programs, of which LA zoo has number); they’d likely lose grant funding. What’s more, the zoo would then be subject to the recent law banning the use of any exotic animal in “entertainment”in LA, because if has the same structure as similar legislation we’ve seen in other states, only AZA facilities get an exemption. If true, that would mean the zoo would no longer be able to do education and outreach programs with their animals (and this law was backed by PAWS, the organization that runs sanctuary they’re trying to send Billy to). 

There’s a very specific reason that this whole campaign centers on Billy, not all three elephants, which is part of what makes it so clear this is a campaign with an end goal of damaging the LA Zoo’s AZA accreditation. Billy’s two elderly companions, Jewel and Tina, would be far better candidates to be sent to a sanctuary if welfare is really the concern driving the advocacy. They’re rescues from a private owner who were massively underweight and had chronic medical conditions, and it’s not as important for them to stay within AZA’s management as other elephants because they’re too old to contribute to the Asian Elephant SSP. The LA zoo has previously been willing to send older elephants to the PAWS sanctuary without needing intervention from the city council (that story is discussed below), so why is this newer campaign ignoring the elderly females and bypassing the zoo entirely by going to the city council when their welfare would likely be more improved by that sort of move? Jewel and Tina don’t belong to the LA Zoo - they’re officially part of the San Diego Zoo collection and on loan to LA - which means the city council can’t claim them as assets and forcibly remove them. The only elephant at the LA zoo that the LA city council has the ability to control is Billy, and so it’s pretty clear this is about getting the city council to overrule the zoo’s choices in caring for their collection and not about which elephants would benefit most from leaving the zoo environment. 

This is an attempt by the animal rights industry to undermine the LA Zoo as an organization - that much is clear. Billy is just a convenient figurehead and an animal that the public will empathize with while being completely unaware of the the ulterior motives behind the advocacy effort. It comes at a delicate time, too, as the LA Zoo is currently in the process of developing a new master plan for the future of the facility. That’s a future that would be massively impacted by a loss of accreditation and all the potential fallout that would go along with it. 


So that’s the context to the Billy situation, and why people are fighting so hard on both sides of the issue. But what the public really cares about here isn’t the politics, it’s the animal welfare, so here’s a look at history and the welfare of the elephant at the center of all this furor. 

Billy at the LA Zoo. (Photo Credit: San Diego Blogs)

Billy is one of three elephants at the LA Zoo - he’s the youngest, at 32, and the only male. Billy is kept separated from his two elderly female companions, Jewel and Tina, because he’s young enough to still want to reproduce and would injure the elderly ladies if he tried to mount them. However, while the elephants are always separated by a barrier, the exhibit was designed with heavy-duty wire fences that meant the elephants could always be able to see, hear, and touch each other through it. The LA Zoo Asian elephant exhibit is one of the biggest elephant habitats in the United States at 6.5 acres (with almost four acres of yard space), and was opened in 2010 - the construction of a state-of-the-art habitat was part of the resolution from the first time animal rights activists demanded the elephants move to a PAWS sanctuary. 

In 2006, an elderly Asian elephant named Gita died at the LA Zoo. It’s not clear what led to her ending up in position she did, but she was found laying on her back legs with her front legs stretched in front of her. Nothing they did could entice her to stand back up, and she eventually died as her body weight crushed her own tissue and the toxins released during that process overloaded her kidneys. (While this sounds brutal, it’s worth keeping in mind that this is likely how many elderly large animals die if they lay down for the last time in a position that puts their weight on their own body). Animal rights activists had already been agitating for the LA Zoo’s elephants to be sent to a sanctuary, and they used Gita’s death as momentum to push for Billy and the other female housed there at the time, an african elephat named Ruby, to be transported to a sanctuary where it was claimed her welfare would be much higher than at the zoo. The LA Zoo eventually caved to public pressure and chose to send Ruby to PAWS (keeping their AZA accreditation by doing so voluntarily) where she was immediately housed with other animals without a proper quarantine period, exposed to animals who were TB positive and were not diagnosed until after death, and eventually died herself in 2011 from an unknown disease that looked suspiciously like TB (PAWS declined to send out samples for testing, despite what appeared to be physical symptoms observed during the necropsy). 

Gita at the LA zoo in 1999 in the old exhibit. ( Photo Credit: Al Seib / Los Angeles Times)

Billy remained at the LA Zoo after Ruby left, and the organization undertook a 42-million-dollar elephant exhibit renovation with the intention of bringing in another breeding male and a number of females as part of the Asian Elephant SSP. In 2007, local activists sued to halt construction of the exhibit with the goal of removing elephants from the LA zoo permanently and forcing Billy into a sanctuary - after a case that was drawn out for a number of years and repeatedly stalled exhibit construction, the judge assigned instead that the LA Zoo was allowed to continue exhibiting elephants but was required to exercise them frequently, make regular exhibit improvements such as tilling the soil, and banned the use of tools such as bullhooks and guides at the facility. When the new elephant exhibit opened in 2010, the LA zoo decided to put breeding plans for Billy on hold in order to house a pair of bonded female Asian elephants - Jewel and Tina - who had recently been removed from a private owner who had neglected their medical care. 

The three elephants share access to the large, heated elephant barn and have 24/7 access to five unique outdoor yards. Each yard has a substrate of soft sand that is tilled regularly to keep it from becoming compacted and hard - the shifting motion of the sand helps keeps the elephants in shape as they walk over it - and each yard has unique features like puzzle feeders, bathing pools and waterfalls. 

Browse and treats are placed at unique locations around all the yards each day, encouraging the elephants to explore their environment anew each morning. In addition, a comprehensive environmental enrichment program makes sure the elephants always have novel objects and stimuli to interact with and a daily training session (which the public is able to watch as a demonstration most days a week) keeps them mentally engaged by practicing foot care, grooming, practice for any veterinary behaviors that might be needed, as well as strength- and balance-focused exercises.

The AZA accreditation standards - which cover general animal policy in 34 pages, and use another 12 to cover animal interactions with the public or use in education programs - have dedicated 32 pages specifically to the regulations regarding elephant husbandry, training, nutrition, body condition, enrichment, and welfare assessments. As a large AZA-accredited zoo that frequently falls under the celebrity-studded, critical eye of the local populace, it’s inconceivable that Billy’s care (and that of Tina and Jewel) is not in accordance with these highly detailed requirements. 

Photos of the new LA Zoo elephant exhibit. (Photo credits: The Portico Group).

The LA Zoo’s elephant exhibit, finished in 2010, was designed by The Portico Group, a design firm founded in Seattle, WA in 1990. The Portico Group’s exhibit designs consistently awards every year within the industry for their incorporation of the newest animal welfare science and management technologies as well as educational and interpretive options. Their design for the LA Zoo is on par with the quality of the rest of their designs, and features a similar amount of yard space for the elephants as the design they created for the widely-praised Cheyenne Mountain Zoo’s Africa expansion that opened in 2013. 

Billy in his habitat at the LA Zoo. (Photo Credit: AP Photo/Richard Vogel)


One of the biggest reasons people express a concern for Billy is a head-bobbing behavior he’s been known to perform his entire tenure at the LA Zoo. The public is aware that repetitive behaviors (called stereotypies) can be signs of low quality welfare, and often worry that means that Billy isn’t being well taken care of at the zoo. However, one thing that isn’t commonly known about sterotypical behaviors is that once developed, they rarely go away once the animal is in a better welfare situation - which leads guests to often misunderstand an animal’s behavior as it relates to their current care. 

The LA Zoo has studied Billy’s head bobbing behavior over the years, and concluded that it appears to be an anticipatory behavior rather than one brought on by stress, as it mainly occurs when the elephant is awaiting the arrival of food, expecting a keeper interaction, or getting ready for movement into another area of his habitat. They also found that Billy had been noted to be displaying the head bobbing behavior when he came to the zoo at age 4 and that it was not something not something he developed during his life at the facility. 

Just because the behavior doesn’t mean that Billy has low welfare in his situation at the LA Zoo doesn’t mean the staff just want to leave him to bob and sway: to help decrease the amount of head-bobbing Billy does and engage him in a range of other behaviors, the keeper staff change their husbandry routine slightly each day and provide enrichment at different times in order to keep him investigating his environment instead of standing and waiting for regular occurrences. 


At the end of the day, Billy’s welfare does not appear to be the impetus pushing this current furor around “rescuing him” - he’s a convenient figurehead for what appears to be a well-coordinated attempt to undercut the LA Zoo’s credibility and accreditation status. 

But even though the actual welfare of the elephant is irrelevant to the organizations pushing this agenda, the general public is now very invested in understanding Billy’s welfare in regards to the outcome of this situation. 

The sanctuary animal rights activists are recommending Billy be sent to has multiple issues with basic elephant husbandry and medical treatment. PAWS was unable to evacuate their elephants in when threatened by a massive wildfire in 2015, due to their policy against doing even the most basic husbandry training with their animals that would have allowed them to be walked into a trailer or crated for transport. Instead, the animals were sheltered on site as the fire came within a few miles of the facility, putting them through massive amounts of stress and resulting in probable smoke inhalation. PAWS frequently take in animals that are reported as healthy upon transport, only to report having to euthanize them within a few years due to crippling chronic conditions. Most concerning is that PAWS appears to be plagued by frequent tuberculosis outbreaks among their elephants, potentially with multiple strains of the disease, despite their stated adherence to biosafety protocols -and that they have had at least one animal die while sick with active, contagious TB infections that were only discovered post-mortem. 

Billy is currently housed in a modern elephant habitat that was created in accordance with best practices for elephant management by outstanding architects - a remodel that was done specifically in response to the original welfare concerns about LA Zoo’s elephants in the late 2000′s. He has access to state-of-the-art veterinary medicine and is cared for by a dedicated team keepers who practice medical treatment behaviors, like foot care, with him daily to ensure that he can quickly receive treatment in a stress-free setting if it becomes necessary in the future. LA Zoo’s elephant keepers work hard to keep Billy active, mentally stimulated, and make sure he has plenty of positive social interactions with both the human and elephant members of his herd. 

If the goal of the general public is Billy’s welfare, he is far better off in a habitat designed for him to inhabit with the staff he has known for a better part of two decades than being sent across the country to a facility with massive red flags in their elephant management program just to fulfill a political movement’s agenda of damaging the facility that holds him. 


Citations under the cut. 

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SKAM S04E09 Clip 5 - Maghrib

SANA: Please accept my fast, even though I’ve behaved badly. Please watch over Eva and Vilde and Noora, Chris. Please watch over Isak and Even and Elias and Yousef.

[VILDE: Hi, are you ready to meet up?

EVA: Sana! Chris and I will pick you up with the van in 20 minutes.

SANA: Ok cool

SANA: I regret cancelling the date with Yousef

NOORA: YEEES! Call him! Go!

EVA: Do it girl!! Life is NOW!!

SANA: According to Islam, life is after death. Which is one of the reasons why I should stay away from him

CHRIS: According to me, the abdomen is dead after death. Which is one of the reasons why you should meet him!!

VILDE: Yousef! Yousef! Yousef!

SANA: Hahaha I get why mom is worried that I don’t have any Muslim friends

NOORA: Hello! OK!! I can argue from an Islamic perspective

SANA: Now I’m intrigued

NOORA: Ok, doesn’t Islam believe in destiny?

Keep reading

theguardian.com
Ten things I learned about writing from Stephen King
The novelist James Smythe, who has been analysing the work of Stephen King for the Guardian since 2012, on the lessons he has drawn from the master of horror fiction
By James Smythe

Stephen King is an All-Time Great, arguably one of the most popular novelists the world has ever seen. And there’s a good chance that he’s inspired more people to start writing than any other living writer. So, as the Guardian and King’s UK publisher Hodder launch a short story competition – to be judged by the master himself – here are the ten most important lessons to learn from his work.

1. Write whatever the hell you like

King might be best known – or, rather, best regarded – as a writer of horror novels, but really, his back catalogue is crammed with every genre you can think of. There are thrillers (Misery, Gerald’s Game), literary novels (Bag Of Bones, Different Seasons), crime procedurals (Mr Mercedes), apocalypse narratives (The Stand), fantasy (Eyes Of The Dragon, The Dark Tower series) … He’s even written what I think of as being one of the greatest Young Adult novels of all time: The Long Walk. Perhaps the only genre or audience he hasn’t really touched so far is comedy, but most of his work features moments that show his deft touch with humour. It’s clear that King does what he wants, when he wants, and his constant readers – the term he calls his, well, constant readers – will follow him wherever he goes.

2. The scariest thing isn’t necessarily what’s underneath the bed

Horror is a curious thing. What scares one person won’t necessarily scare another. And while there might be moments in his horror novels that tread towards the more conventional ideas of what some find terrifying, for the most part, the truly scary aspects are those that deal with humanity itself. Ghosts drive people to madness, telekinetic girls destroy whole towns with their powers, clowns … well, clowns are just bloody terrifying full stop. But the true crux of King’s ability to scare is finding the thing that his readers are actually worried about, and bringing that to the fore. If you’re writing horror, don’t just think about what goes bump in the night; think about what that bump might drive people to do afterwards.

3. Don’t be scared of transparency

One of my favourite things about King’s short story collections are the little notes about each tale that he puts into the text. The history of them, the context for the idea, how the writing process actually worked. They’re not only invaluable material for aspiring writers – because exactly how many drafts does it take to reach a decent story? King knows! – but they’re also brilliant nuggets of insight into King himself. Some people might think that it’s better off knowing nothing about authors when they read their work, but for King, his heart is on his sleeve. In his latest collection, The Bazaar of Broken Dreams, King gets more in-depth than ever, talking about what inspired the stories in such an honest way that it couldn’t have come from another writer’s pen. Which brings us to …

4. Write what you know. Sort of. Sometimes

Write what you know is the most common writing tip you’ll find anywhere. It’s nonsense, really, because if we all did that we’d end up with terribly boring novels about writers staring out of windows waiting for inspiration to hit. (If you like those, incidentally, head straight for the literary fiction section of your nearest bookshop.) But King understands that experience is something which can be channelled into your work, and should be at every opportunity. Aspects of his life – addiction, teaching, his near-fatal car accident, rock and roll, ageing – have cropped up in his work over and over, in ways that aren’t always obvious, but often help to drive the story. That’s something every writer can use, because it’s through these truths that real emotions can be writ large on the page.

5. Aim big. Or small

King’s written some mammoth books, and they’re often about mammoth things. The Stand takes readers into an apocalypse, with every stage of it laid out on the page until the final fantastical showdown. It deals with a horror that hits a group of characters twice in their lives, showing us how years and years of experience can change people. And The Dark Tower is a seven (or eight, or more, if you count the short stories set in its world) part series that takes in so many different genres of writing it’s dizzying. When he needs to, King aims really big, and sometimes that’s what you have to do to tell a story. At the other end of the spectrum, some of King’s most enduring stories – Rita Hayworth & Shawshank Redemption, The Mist – have come from his shorter works. He traps small groups of characters in single locations and lets the story play out how it will. The length of the story you’re telling should dictate the size of the book. Doesn’t matter if it’s forty thousand words or two hundred, King doesn’t waste a word.

6. Write all the time. And write a lot

King’s published – wait for it – 55 novels, 11 collections of stories, 5 non-fiction works, 7 novellas and 9 assorted other pieces (including illustrated works and comic books). That’s over a period of 41 years. That’s an average of two books a year. Which is, I must admit, a pretty giddying amount. That’s years of reading (or rereading, if you’re as foolishly in awe of him as I am). But he’s barely stopped for breath. This year has seen three books published by him, which makes me feel a little ashamed. Still, at my current rate of writing, I might catch up with him sometime next century. And while not every book has found the same critical and commercial success, they’ve all got their fans.

7. Voice is just as important as content

King’s a writer who understands that a story needs to begin before it’s actually told. It begins in the voice of the novel: is it first person, or third? Is it past or present tense? Is it told through multiple narrators, or just the one? He’s a master at understanding exactly why each story is told the way it’s told. Sure, he might dress it up as something simple – the story finding the voice it needs, or vice versa – but through his books you can see that he’s tried pretty much everything, and can see why each voice worked with the story he was telling.

8. And Form is just as important as voice

King isn’t really thought of as an experimental novelist, which is grossly unfair. Some of King’s more daring novels have taken on really interesting forms. Be it The Green Mile’s fragmented, serialised narrative; or the dual publication of The Regulators and Desperation – novels which featured the same characters in very different situations, with unsettling parallels between the stories that unfolded for them; or even Carrie’s mixed-media narrative, with sections of the story told as interview or newspaper extract. All of these novels have played with the way they’re presented on the page to find the perfect medium for telling those stories. Really, the lesson here from King is to not be afraid to play.

9. You don’t have to be yourself

Some of King’s greatest works in the early years of his career weren’t published by King himself. They were in the name of Richard Bachman, his slightly grislier pseudonym. The Long Walk, Thinner, The Running Man – these are books that dealt with a nastier side of things than King did in his properly attributed work. Because, maybe it’s good to have a voice that allows us to let the real darkness out, with no judgments. (And then maybe, as King eventually did in The Dark Half, it’s good to kill that voice on the page … )

10. Read On Writing. Now

This is the most important tip in the list. In 2000, King published On Writing, a book that sits in the halfway space between autobiography and writing manual. It’s full of details about his process, about how he wrote his books, channelled his demons and overcame his challenges. It’s one of the few books about writing that are actually worth their salt, mainly because it understands that it’s about a personal experience, and readers might find that useful. There’s no universal truths when it comes to writing. One person’s process would be a nightmare for somebody else. Some people spend years labouring on nearly perfect first drafts; some people get a first draft written in six weeks, and then spend the next year destroying it and rebuilding it. On Writing tells you how King does it, to help you to find your own. Even if you’re not a fan of his books, it’s invaluable to the in-development writer. Heck, it’s invaluable to all writers.

I believe Spencer’s twin is coming.

In this post I want to give a list of reasons why Twincer is my prime suspect as AD. I know a lot of these ‘clues’ come from interviews, but they’re still really convincing for me at least. I’ve definitely missed some of the clues from within the show because they’re not as easy to spot - we need to know for sure if Twincer is happening, then we can dig further. (The fun won’t instantly stop once the finale airs.) But for now, enjoy these, and at the end, I give my theory as to the motive.

Please note: none of this is overly new. This is just the summation of everything we’ve been talking about on my blog for the past couple months. I wanted to put all the ideas into one post, rather than 31529 mini posts scattered here and there. I will be updating this as we find more. 

  1. The famous airport scene from 715.
    We all already think it’s weird that "Spencer" asked Ezra to not tell anyone he saw her there with Wren. What’s weirder, is the fact that Wren and “Spencer” were arguing. Amongst muffle, I heard Spencer say "stop calling me that" (let me know if you heard differently). Did Wren have a slip-of-the-tongue moment and call her Spencer rather than the twin’s real name?
  2. Dr. Cochran’s story is very telling.
    We all already know the ambiguous implication that Mary had more than two babies, because Dr. Cochran said he dealt with “two of Mary’s babies”. What’s more interesting is the second baby he dealt with. The first baby (Charlotte) he gave to Jessica. He said that the second baby that he delivered was placed in family county services. This could not have been Spencer, since Spencer was delivered to Veronica within 5 minutes of birth. So, who was that second baby that was placed in family services? I believe it was Spencer’s twin. Why? Dr Cochran referred to that second baby as “underweight but tenacious” - lo and behold, the next episode, Toby calls Spencer tenacious. This was the writers foreshadowing the similarities between this second baby, and Spencer. Twins. 
  3. We all know Hanna’s ‘dream’ in 701.
    It makes no sense that Hanna was able to dream ‘Spencer’ saying the name A.D. since Hanna was kidnapped before these initials were even revealed. Perhaps Hanna was visited by Twincer; the one holding her captive.
  4. A.D. needs to stand for something. 
    Spencer’s twin could literally have the initials A.D., since we know she would be Mary Drake’s child. Her first name would start with A and the D would stand for Drake. 
  5. Brendan and Ian both confessed to being confused by the identity of A.D.
    They needed the backstory to understand it. Is that because they had no idea who has the name “Alex Drake” (for example) ?
  6. Tyler said before 7B aired that “you’ve never met AD. You kind of have. You’ll know what I mean”.
    This can be interpreted in two ways: you’ve never met Twincer but since you know Spencer, you kind of know who AD is. Or. You’ve seen Twincer over the years, but thought it was Spencer. Either way, Tyler’s comment screams twin-theory to me. This could apply to any twin theory, but in this context, I’m using it for Spencer.
  7. Ian said (0:57) that “fans will be satisfied to a point. Right when it seems it’s gonna be really great, it might do a little [downwards hand motion]”….
    That cheeky smile on Ian’s face when he said “it seems it’s gonna be really great”… what could be greater than a liar being AD? Ian could be referring to the fact that they initially show us Troian under the hoodie, making us think Spencer is AD. Then, after commercial break, they will reveal it’s just her twin, hence the “it might do a little [downwards hand motion]”. We will be satisfied to a point, he said. It’ll start off amazing by thinking it’s Spencer, oh wait, it’s another twin.
  8. Ashley said (0:14) that she didn’t even know the A.D. reveal is possible.
    Because she did not expect a second pair of twins to come along?
  9. “It’s like there are two of you living in this house. You, and you’re evil twin, and we’re not sure who’s coming down to breakfast". 
    said Veronica to Spencer in 423. Foreshadowing at it’s finest.
  10. Spencer doesn’t remember this flashback.
    Was it her twin? And oh how coincidental, that the writers tell us a time Spencer doesn’t remember, in the same scene Veronica makes the above comment about Spencer’s “evil twin”.
  11. “Where are they?”
    said Mary as she entered the Hastings house (flashback from 717). Who is they? The twins? She proceeded to say that Spencer is the only good thing she’s ever made. Maybe Mary knows Spencer’s twin is evil, and is neglecting her. 
  12. “You look very much like your sister. Almost like twins”.
    said Mary to Spencer in 701. The writers wanted us to think that Mary was talking about Spencer and Melissa, since Mary was holding a picture of the half-sisters. But, were the writers, and therefore Mary, hinting towards Twincer? Is Mary being blackmailed/forced (by Peter?) to keep quiet on Twincer, and she had a slip-of-the-tongue moment here?
  13. Marlene is very aware of the Twincer theories.
    Back in 2014 she said that Troian sent her an online fan theory regarding Spencer having a twin who is A. Marlene was blown away by it and she thought it was a very well thought out plan with detailed evidence across the series. Watch from 1:35. Whilst you may be saying “there’s NO WAY Marlene spoilt her own show’s ending in an interview!!” - I feel like she had no idea the show would go on for 7 seasons, and once they got renewed, she panicked. “Shit, we need a new Uber A. Let’s go with that brilliant fan theory Troian sent me”. She probably regrets making this interview now. You can tell her passion for Twincer in this interview. She talks so damn highly of it.
  14. Marlene has said that the person who plays A.D. had known for a while.
    We know that Marlene told Troian the entire ending of the show years in advance. “Just like I had story time with Marlene, you all now get story time with Pretty Little Liars” said Troian.
  15. The girl in the coffin in the opening has the exact same black puffy shirt as Spencer.
  16. Why does it seem that A.D. is always going after the Hastings?
    Why shoot Spencer, out of all the liars? Why demand Aria to plant the audio device in the Hastings? Why not ruin the Marin household? The jealous twin wants her ungrateful sister dead, hence the shooting, and the jealous daughter is angry she never got adopted. Too much of the story is Hastings-oriented. 
  17. “They’re all some pretty. Good. Theories.”
    Was Janel’s response to being asked about the Spencer-twin theories. (22:20)
  18. And, I’ll just leave this here. Good one @prettylittlesessions​ !
  19. “Spencer’s” weird comments in 718.
    In 718 “Spencer” says to Toby “you know what its like to be the outsider. Removed from friends and family”. What made her say this? Nothing was said or done in 718 to prompt our Spencer to say this. 
  20. Keegan said there are no more Spoby kisses in 7B.
    “I can honestly say that there is not another Spoby kiss.” Yet - there was one in 718. Either Keegan lied, or that was Spencer’s twin. (10:15)
  21. “It’s somebody you have seen.”
    says Marlene in regards to who AD is. Was she talking about the Spoby kiss in 710, which Twincer referred to in 718 when she kissed Toby again? Marlene was very careful to avoid saying “it’s someone you KNOW”. We don't “know” Twincer. But, we have seen her.
  22. “That’s not the Spencer I know”
    said Toby in 718. Writers are foreshadowing.

Setting all this aside, I want to add my theory on the backstory and motive:

  • Twincer, who’s name is A_____ Drake, was born in Radley, as Dr. Cochran told us in 7A. 
  • Twincer was raised in Radley - not because she needed to be at a psychological hospital, but as a form of daycare, because Mary was deemed an unfit mother, and also she kept Twincer a secret from Peter… he already hated her (to the point of planning her murder, later on) enough for having one baby together, imagine Peter’s reaction to having twins.
  • There, Twincer met and bonded with her sister Charlotte. Charlotte became Twincer’s only friend. (Twincer might even be Bethany, since we already know of this bond between Bethany and Charlotte, and how Bethany was drawing Charles being taken away by a monster. But for this theory, let’s just forget Bethany for a second.)
  • When Mona came to Radley and started telling Charlotte about everything she did to her sister, Charlotte and Twincer wanted to play. They wanted a turn at harassing Spencer and her friends.
  • For Charlotte, as we know, it was the feeling of finally succeeding at something in life that made the game her drug. For Twincer, it was something far darker.
  • Harassing Aria, Hanna, Emily and Alison is all about driving a wedge between the girls. Twincer wants to break up the girls. Turn them against each other. Hopefully by throwing fire at the girls, they will break up, ultimately, to ruin Spencer’s life. Again, jealousy. Twincer’s plan is backfiring because it’s exactly A’s threats that makes Spencer say “we need each other more than ever” and “always stick together”. The writers keep making the point of SPENCER being the one to make the comments about “always” sticking together. Twincer cannot break Spencer and her bitches. This is fueling Twincer’s anger. Nothing is working.
  • That’s why AD/Twincer recently shot Spencer. “If I can’t break the girls up to ruin Spencer’s life, why not just become Spencer?” Twincer shot Spencer in an attempt to assume her identity and squeeze her way into the loving friendship group that she could never crack. “These girls are so loyal to each other… they don’t even break up after even my threats. Damn, I want to be a part of this. It’s my turn to live a happy life. You had your turn Spencer.”
  • Note: I do not believe that AD has been operating since season 1. Mona’s time as A is completely independent from Charlotte and Twincer’s story. Mona started the game, and now someone is ending it, and she wants to know who. Charlotte and Twincer are their own duo; their own A-team, which stemmed as a result of Mona coming to Radley. Charlotte revealed herself - next up in the A team is Twincer, who is carrying on the game she once played with her sister. 

So, the time has come where I have decided to share my hidden Nashcon 2016 Cockles photo op with everyone.

Why did I wait so long? Because I told myself, as a silent promise to Jensen and Misha, I was going to wait one year from the day, before I share it, even though Misha said to share it initially. Haha. Anyway, it’s been four months past the year mark, and I have decided to finally unveil the photo, I know it might garnish some stuff from haters, and I might be called “disrespectful”, however I ask everyone to read below first, on how my situation went down with receiving the photo, and then cast your opinions.

 So, I am waiting in the photo op line nervous as all hell haha, I keep the front of the book hidden the entire time, just patiently and nervously waiting. The book I held in my hands was “The Threesome Handbook”, by Vicki Vantoch (For those who don’t know who she is, she’s the amazing woman married to Misha!!). I’ve had the idea in my mind for nearly a year on how funny it would be to take a photo of the three of us reading it, I could imagine Jensen’s “what the hell position is that?!” Face, I can imagine Misha’s mischevious intrigued face, and then I would just be there looking like a dork, haha, either way, it was a year’s idea in the making. So the time has come and here i am shaking with my book…When it is my turn…I walk up to them…I immediately went to Jensen first because above anyone else, I wanted to get his Blessing for the photo, I didn’t want him to do it if he was not comfortable with it, and I was perfectly fine if he would have declined…So, I’m right in front of Jensen and I say “I completely understand if you don’t want to do this but, if not, it’s okay, but can we do something with this?” I showed him the book Misha’s wife wrote “The Threesome Handbook”, and he was like “With this?” He replied with like a shocked laugh as he pointed at the book, I laughed a bit in embarrassment…Then at this moment Misha comes over to the two of us, he sees the book and giggles as he grabs it, Misha being amused at the sight of the book, all I could do is look on in embarrassment and nervously laugh. At this point however, Jensen’s handler came up right away and was like “ Nope. No. No.” And she snatched the book out of Misha’s hand. So he was like “Oh Well” with a shrug kinda look then I was like “Oh well”, I knew at that point it was the risk of asking, so I didn’t mind. So I turned to Misha and Jensen and was like “Hugs then?” So we did a hug picture. The bliss and awesomeness of being between those two, still sends shivers down my spine. Forgive the capital letters but this was the exciting part…after the picture I THEN HUGGED THEM BOTH AND SAID THANK YOU, THEN THE HANDLER GAVE THE BOOK BACK TO ME. I WAS READY TO WALK AWAY WHEN MISHA GRABBED MY HAND, PULLED ME CLOSE TO HIM AND TOLD THE PHOTOGRAPHER TO TAKE ANOTHER. SO MISHA HUGGED ME WHILE WE HELD THE BOOK AND JENSEN GAVE HIS LIKE “WHAT?!” FACE. I WAS IN SHOCK!!!! SO ALL I HAD ENOUGH REACTION TIME FOR WAS TO MAKE A DORKY LOOKING “Idk, worth a shot” SUGGESTIVE FACE.


It happened so quick…I was not expecting it at all…After the picture all I could do was happily give Misha another hug, and just mutter “Thank you thank Misha”, I gave Jensen one more quick one and kinda high tailed it out of the room shaking.

Now…I was absolutely happy, and just speechless, I had two ops, the op I wanted to do, and I spent more time with them. The thing is though…After some time…I felt bad…because I wasn’t sure if Jensen was upset…or kinda just disappointed, because I felt maybe he didn’t want to do it and it was forced, as much as I appreciate it…To confirm, I decided to apologise to him when I got my autograph…The stressful part of it all, was the timing…See…I had to wait for the pictures to print, I wanted to grab it right away because I know sometimes people take photos of other people’s pictures, and I didn’t want this to get out by someone else’s hand. The thing is Jensen was then signing autographs in the same time…So, I was pacing back and forth from the picture table and the autograph hall to see how the lines were, just as it seemed like autographs were almost over, as they called my row many minutes before, the pictures were put out. LUCKILY I received my picture and I was able to make the line for Jensen, photo hidden. So again I nervously wait in line, when I got to him in line, he recognized me and said “Hey you” and smiled, and of course I was like “Hi” *giggles* and then I said “Jensen I’m really sorry about the book photo op”. He smiled and was like “ah, it’s no problem at all” And I said “Okay I just wanted to make sure you know I didn’t mean anything bad by it” and he said “Don’t worry about it, it’s perfectly fine”. I apologized to his handler also and she said “ Its okay honey, I’m not mad about it” and they both said you have a good night and pretty much don’t worry. So *SIGH OF RELIEF*

Got my autograph and his Blessing!! However me being me, I wanted security…So…To Make sure…When I got my Misha autograph, I walk up to Misha with items in hand to get signed.


Misha: “Oh hey it’s you, how are you?”


Me: “I’m good thank you, how are you?”


Misha: “I’m good, I’m good, are you having fun?


Me: “Yeah, it’s been really great”


*Misha begins to sign my items*


Me: *Nervously* “Can I ask you a question?”


Misha: “Of course go ahead”


Me: “Was Jensen upset with the photo with the book?”


Misha: *smiles, then giggles* “Oh no, he wasn’t upset at all. He would have gone through with it if a certain handler didn’t snatch it away from us”


Me: “Are you sure? I really don’t want him to be upset, I just didn’t think it’d be bad”


Misha: “No, don’t worry about it at all, he wasn’t upset” *Misha hands back items*


Me: “Okay, thank you Misha, thank you. You have a great night” *I say while gathering my stuff*


Misha: “You’re welcome. You too” *Misha smiles*


*I turn to walk away when Misha says to me*


Misha: “Don’t give it a second thought”


I respond by just smiling and saying a relieved “Okay”, and then I turn and head out to the hall.

So…This is that photo, from my amazing Nashcon 2016 time…I hope those viewing, find the humor in it as much as I do…If you’re gonna share it, please just attach this story with it, so people know, that yes while some might find it tasteless, it was done with a calculated understanding of the actor’s feelings behind taking the photo and not without asking their personal consent for it first, the events that unfolded from it, were not expected and were out of my hands, just as well I finally want to thank Misha and Jensen and just as well, Jared!! (Though they may not ever read this haha) for everything they’re do for the fans, it was a great time and is now a hell of a story I can add to my life of events. Everyone else…enjoy. :)


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Six Years and Seven Days

This is pretending that Bellamy could hear Clarke talking all those years, she just can’t hear him responding, and that the ship at the end is them coming back to Earth. 

So…pain. 


Day Three

“Bellamy…are you up there? Are you alive? Is anyone alive?”

Static.

“I only woke up yesterday. At least, I think it was yesterday. I barely made it into the bunker in time, but I made it. And the computer says it’s been three days since the radiation hit, and I was so hungry I thought I might die. Please tell me you didn’t die.”

Silence.

“Bellamy, my mom was right. In a way. My face is disgusting, covered in boils. You’d be laughing at me…probably. Because she was right but so were you. I’m not dead Bellamy. I hope you aren’t either.”

His fingers slammed on the respond button, pushing it down to the point of it feeling like it would crack from the pressure.

“I’m not dead, Clarke. I’m not dead.”

Keep reading

Our Little Secret-Part One

Summary: After a hunt and quite a few drinks the boys learn that you aren’t as ‘experienced’ in one department as they thought you were. Dean thinks he can rectify that

Series Masterlist

Characters: Dean, Sam, Reader

Pairings: Dean x Reader

Square Filled/Kink: Oral Fixation for @spnkinkbingo

Word Count: 4700

Warnings: Smut, oral (male and female receiving), insecure reader, language

A/N: Thank you so much for reading. This is the first part of what I hope is a lengthy and smutty series. Any feedback is always appreciated. This is also for @emilywritesaboutdean and @wheresthekillswitch ‘s Do It Like TFW Challenge (The gif is near the bottom)

A thank you to my beta @ayeronda for betaing at an ungodly hour and being so wonderful.


It’s been a long ass day and an even longer hunt. You were more than happy to be sitting on Dean’s bed in the boys’ motel room, sipping on your second, or maybe it is the third beer. And that was just here, it wasn’t counting the four or five shots you had had down at the bar. So now you were here and Sam was riding Dean hard about his strikeout at the bar.

“Dude, you were never going home with her.”

“She doesn’t know what she’s missing out on.”

You can’t help but chuckle, “What? Two whole minutes?”

Keep reading

Twister (M)

Genre: Smut

Pairing: Jungkook x Reader

Word Count: 3,009

Summary: You’d be lying if you said that you hadn’t expected a game of Twister with your boyfriend Jungkook to turn into something much less innocent.

Requested by @0bluewater2

Keep reading

It’s a [Tinder] Date! (Part 3/3)

Summary: Thinking he needs to find a date, Natasha signs Steve up to Tinder. In Queens, Peter Parker does the same to you. It’s a match!

Word Count: 3,405

Part 1 Part 2

A/N: Almost a month later, but this fic is officially done :D I hope you all enjoy this fluffiness. 

Originally posted by mackievanstan


Work managed to distract you enough to not keep looking at the clock every five minutes. Despite part of your brain telling you that there was no way you had a date with Captain America, there was another part that couldn’t help but to hope this was true. And so, you found yourself daydreaming of showing up to the restaurant and seeing him there. What would you even say to him? What kind of greeting would you use? Would you address him as Captain, or maybe Mr. Rogers, or just Steve?

By the time you got home, you had a few outfit options in mind and made a beeline to the bathroom, taking a shower before you got started on getting ready.

Peter came around as you were choosing between four different outfits you had draped on your bed. He helped you picked the one that was form-fitting, waggling his eyebrows playfully.

“We gotta tease him,” he said.

Keep reading

So one thing i’ve noticed about Shiro that i totally and absolutely adore for several reasons (one of them being that it lines up with my hc that Shiro would be an epic Cedric Diggory type hufflepuff in an hp au) is that Shiro is not an OVERprotective type.

Lemme explain why this is good and how.

We know that Shiro is protective of those he loves, I’m not saying he isn’t protective (AHEM STEPPING IN FOR MATT) but what i am saying is that Shiro isn’t SO protective that he belittles the strength and abilities of the people he cares about; which is a trait too often glorified in heroes, especially concerning the male hero to the female. 

Exhibit A) S01E10. Allura says that she’s going with them to break into the space base and everyone’s looking at Shiro like “dude you can’t let the princess join us on a such a dangerous mission”

and Shiro’s just like “sure, why not?”

while everyone else reacts like this:

Obviously, because of genre expectations, we would expect Shiro to say something along the lines of “no way we can’t endanger the princess like that” so it comes as a bit of a surprise, a good one of course, when instead of insisting Allura can’t come that he has no issues with it. He doesn’t even look conflicted, he has no idea why Allura shouldn’t be allowed to come! That’s because our little cinnamon role knows what’s up and he understands that Allura is strong, capable woman. At the very least he knows that he has no good reason to assume otherwise (even though there’s some pretty funny scenes once they’re in the base and Allura doesn’t even know how to hold a gun). But you get my point.

To summarize Exhibit A: This scene is a VERY REFRESHING change from the standard “i must protect the princess, the princess is incapable of protecting herself, which means i’m the only one allowed to do dangerous things” narrative. Shiro does not judge a person’s adequacy based on unfounded preconceptions. This is a SUPER important quality in a leader. Also, this means he isn’t sexist. 

Exhibit B) S02E12. 

Keith offers to be the one to go into the ship to make sure what was supposed to be Thace’s job gets done. Kolivan says it’s a suicide mission and that he would never command anyone so inexperienced do it when Keith replies:

And of course Shiro, being the head of Voltron, is the next person who would have a say in this - who should be the one to talk Keith down. But he doesn’t. Instead he says this:

This demonstrates that Shiro, understanding who Keith is, knows that there is no stopping Keith which means the best thing for Shiro to do is make sure Keith gets to the ship safely. 

This is very similar to what he did with Allura. He doesn’t stop her from going on the mission, but insists he goes with her (i didn’t touch on that above but we know that happened).

So let’s just talk about what this means for a second. Shiro cares about Keith. We know he’s totally worried about Keith’s safety because he LITERALLY has to take a breath to COMPOSE HIMSELF before he says this. He does not want Keith to do this, he does not want anyone for that matter to be risking their lives. But this is war. I’m sure Shiro wishes for nothing more than to be able to trust that Thace will do his part. But Keith can’t rely on that, and Shiro knows that he can’t either. And they shouldn’t because they can’t be taking any chances with this fight.

So Shiro lets Keith do what Keith needs to do, what they all need Keith to do. Shiro chooses to trust Keith’s abilities, and doesn’t undermine Keith’s determination. This whole war is bigger than all of them! Keith is not just Shiro’s probably younger friend, Keith is a fellow paladin of Voltron. Keith is his equal, not some helpless child who needs to be kept out of harm’s way and given the least dangerous task because he has no right to be involved or because he doesn’t want Keith to get hurt. 

So Shiro says “I’ll give you cover.” Because Shiro protects those he cares about. And because he REALLY TRULY cares about Keith, and Allura, and everyone, he knows what they’re capable of. He trusts them. He doesn’t let his need to protect them belittle them. 

OVERALL: I just think this says so much about Shiro and the type of hero role he plays, especially as a leader it is so important that his protective side is not also oppressive. Shiro’s the kind of guy who would die WITH his friends, not just the classic FOR his friends. Shiro doesn’t undermine the people he loves like that, they’re all his equal, they are all capable human (or not human or half human) beings. 

If the people he loves wants to fight then they deserve to fight, that’s their right and not his decision to make. But he sure as hell doesn’t have to let them do it alone so he goes with them. He helps them however he can.

And quick flashback to the Matt situation. The only reason Shiro stepped in like that was because Matt clearly did not want to go into the ring. I think if for whatever reason Matt really wanted to fight that dude (maybe for his own revenge or something) Shiro wouldn’t have taken that away from him. But Matt was not ready, Matt was freaking out and Matt did not want to fight. So Shiro did it for him cuz THAT is the Shiro way.

(sorry this was probably way longer than necessary, I’m not very concise but I haven’t seen a post about this so i thought i’d try my hand at making one) 

squint at where you’re from

oops sometimes you gotta

spoilers for 413, bellamy/clarke, 1600 words, gen. AO3!


Even though it’s not really the same as coming down in the first time, Bellamy still has this strange sense of deja vu as he looks at the door. The ship is smaller, he has fewer people with him, he feels both more and less sure of what he’ll find. They tried to hit the only spot of green they could see, but the controls are a mess, so he’s not sure they got to it. The whole fucking ship is a mess, built out of whatever scrap they could salvage. Even with six years to perfect it, the thing is still held together with spit and prayer, according to Raven.

But it got them to the ground. They’re back.

“Just open the fucking door!” says Raven, and Bellamy lets out a long breath and finally hits the release.

He knows what he’s hoping for: clean air, plants, blue sky. And he gets all of those.

He just also gets a girl, maybe ten or eleven, with brown hair in braids, pointing a gun at him. Which is honestly fairly encouraging; someone survived, and they have firearms. So she probably came out of the bunker.

He puts his hands up on reflex.

“Hey, uh–we come in peace,” he tries, and then says it again in Trig, for good measure. He doesn’t recognize her, but that doesn’t mean anything. She could be from another clan; there are plenty of them he doesn’t know. Or–his heart trips on the thought–she could be a nightblood. She could have survived because of that, and if she survived–

The girl pulls her gun back and looks at him critically. “Are you Bellamy Blake?”

He blinks a few times. “Um, yeah. I’m Bellamy Blake.”

“Really?”

She sounds skeptical, which doesn’t make any fucking sense. She’s the one who brought it up. There’s no reason for her not to believe him.

“Yeah, really. Did you come out of the bunker? Is my sister with you? Octavia?”

You’re Bellamy?” she says, like she didn’t hear him. She’s making a face like something smells odd. “I thought you’d be taller.”

Taller?” he asks.

Raven pokes her head out. “It’s been five minutes and you’re already being held at gunpoint? You sure have a way with people, Bellamy.”

“Look, we don’t want to hurt you,” he tells the girl. “Just–”

“I know,” she says. “You just want to see Clarke.”

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Hey Voltron Fandom, what the fuck?

I’m going to get straight to the point, you guys are self-destructive and are going to kill the fandom over your petty arguments and stupid self-entitlement. There hasn’t been a day since the beginning of the fandom that everything has just been peaceful for once (and I’ve been here since it’s birth) You all should be ashamed of yourselves, fighting online and hurting real people over fiction (this is not specifically towards ships btw) And I’m putting my foot down at all of this bullshit and trying to stop it

This is pretty lengthy so everything is under the cut

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The way Bangtan would have sex (M)

d i s c l a i m e r || this is just my opinion based on the general idea of their character I have formed through out the years. Of course you could have a totally different opinion than mine (since we’re all different people, we also perceive things differently) and of course I have no way of knowing if I even came close to the reality so take it as it is: an opinion of a fellow ARMY. Thank you :)

w a r n i n g || the contents of this post are only for a mature audience to see - that’s why it’s under the cut - and it’s heavily N S F W because it doesn’t contain only words but also gif depictions of love making.

C R E D I T S OF THE GIFS TO RIGHTFUL OWNERS.

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170618 // I haven’t made a post like this in a while, but I’m revising for an exam right now and it’s the last thing I want to be doing so I’m procrastinating (don’t follow my lead kids).

How I use Digital Notes

I’ll make a more detailed post about how I study at some point, but for now:

  • I use microsoft onenote, but you can use whatever program you feel comfortable with.
    • Useful features of onenote include the organisation into notebooks, sections, and tabs, search function, equation support, tagging, and formatting options (inc. different heading styles).
    • You can find really great posts about onenote quite easily if you’re interested in how it works (I would 100% recommend it).
  • Throughout the year I type up my class notes, summarising information and organising it into a sensible order.
    • This took a lot of discipline and I fell off the bandwagon quite a bit. I initially intended to type up my notes from the day every evening, but I found it’s more realistic to just do it as often as possible and to aim to finish each topic’s notes before I move onto the next one.
  • When I come to revise for exams I will rewrite and summarise my notes on paper (writing out notes helps me remember them, but this may not work for you)
    • When I’m doing the first few past papers I’ll have my notes with me so I can look things up until I can do a paper without them.
      • I find this is more effective than using the mark scheme to help as the mark scheme basically gives you the answers.

Why Make Digital Notes?

Obviously digital notes don’t work for everyone, but I find they’re much more useful to have than notes on paper, at least before you start revising.

  • The main benefits of digital notes are:
    • typing is faster than writing
    • search functions (depending on the program) to look up information quickly
    • neater and faster formatting
    • you can back them up somewhere else so you don’t have to worry about losing or damaging them
    • you can bring all your notes with you without it weighing a tonne (assuming your laptop/tablet doesn’t weigh a tonne)
    • copy and paste! Ofc use this as infrequently as possible, but it’s useful for quotes etc.
    • pictures without the effort of drawing or printing out and sticking in
    • cheaper as you don’t have to buy pens and paper as often
    • an excuse to bring your computer into school and then go online shopping and play games during really boring classes no I haven’t done this what are you talking about so you have access to google etc. to look things up whenever

Prioritising

  • The only reason I’ve managed to keep up with my notes throughout the year is because I don’t take any for maths and I’ve kind of fallen off the bandwagon for French (whoops). It’s a bit unrealistic to expect to keep up with all the notes for all your subjects (particularly if you’re doing gcses), so prioritise.
  • Subjects like maths tend to assess a skill rather than knowledge, so it’s probably more useful to do practice questions rather than make notes.
  • If you’re dropping a subject in a year and won’t touch it again make sure it’s actually worth making notes for the whole year.

In Class or After Class?

Whether you write notes on the computer during class or afterwards depends on the class.

  • I’ve got one particular teacher who flits back and forth between topics and often mentions things without going into detail because she assumes we’re too stupid to understand (not my favourite teacher ngl). So I use my laptop in her lessons so I can go back to topics we’ve already done and so I can google things to fact check (she frequently dumbs stuff down to inaccurate levels) and expand on points that she makes.
  • If you’ve got a teacher that tends to move super fast it might be worth having a computer with you as typing is generally much faster than writing.
    • If you can’t touch type learning is a really good idea, even just to improve the speed of your typing (I can’t actually touch type but I took a course until I learnt to use all my fingers when typing and now I type much faster). There’s lots of free online courses available.
  • Alternatively, you can just make all your class notes on paper and type up the important information when you get home.
    • This means you don’t have to worry about your class notes being neat enough to revise from; after you type them up you can file them or even throw them away to save space.
    • It also works as a review which is really good for putting the information into your long-term memory.
    • However it is also pretty time consuming so you’ve got to be super disciplined to keep on top of it.
  • In my school at a levels I’ve found it’s not too unusual to have a laptop out but it’s a bit odd to have one at gcses (idk about other schools). Obviously you shouldn’t care about what other people think, but if having your laptop/tablet with you will make you feel self-conscious and uncomfortable then leave it at home.
    • Also laptops and tablets are expensive and it’s understandable if you’d rather keep them safe at home.
    • That said, people do get used to it. Even if you’re the only one with a laptop/tablet, the novelty wears off quickly.
  • Some teachers don’t actually like students using laptops and tablets during class, so do check before you bring it in.

I hope this helped! Of course if you have any questions about this (or anything else) my ask is always open please ask me something

Here’s where I post this and find 56 typos :/

A Lesson in Love (The Reunion)

Summary: (College!AU) In which you’re assigned to write a story about romance, a subject you know nothing about, and Bucky, a hopeless romantic, offers you his assistance.

Pairing: Bucky x Reader

Word Count: 3,837

A/N: This is the second to last part in the series, babes. We’re almost done with this journey. 

“A Lesson in Love” Masterlist + Soundtrack

@avengerstories - you truly are the best of the best when it comes to editing (and everything else too)

Originally posted by captaincentenarian

You’ve walked the length of this hallway more than a dozen times before. Hundreds, if you count the amount of times you’ve strolled through the hallway in your apartment, one that is a spitting image of the one you’re standing in now. Your familiarity with the small space should make the journey from where you’re standing to where you need to be easy.

Should.

Every time you’ve made this walk, it was never with the knowledge that what’s waiting for you at your final destination had the potential to change everything.

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Dean Thinks You’re Hot

Title: Dean Thinks You’re Hot

Pairing: Jensen x Reader

Word Count: 2,122

Anon Request: you think you could write one where the reader feels insecure about her stretch marks/size and Jensen is her best friend and tries to help her feel better?

Warnings: Negative Thoughts, Low Self-Esteem, Fluff, Implied Smut

A/N: Feedback is always appreciated, friends! xoxox

x

Your name: submit What is this?


    Pacing back and forth around your trailer almost drove you dizzy. Back and forth. Back and forth; as if that was going to simultaneously solve all of your problems. It wasn’t. Not even close.

    You had just gotten the memo that your intimate scene with Jensen was moved to today, not that you weren’t sweating buckets the second you got the script, but the fact that the scene was moved to today instead of five days from now had you ripping your hair from your head. You were going to be very exposed to him, and no matter how long the two of you had been friends, this was something you weren’t comfortable with on so many levels.

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the millionaire and his lover

Originally posted by yourpinkpill

summary: over the course of your lifelong friendship with jungkook, you can’t say that you’ve ever had the greatest ideas, and a fake relationship with the boy you’ve been in love with for years is no exception. 

{self-gratuitous ceo au, friends-to-lovers, and fake relationship trope rolled into one big shitstorm of a jungkook fic}

word count: 18k

warnings: very light smut, shitty angst

a/n: hello all! i wanted to kickoff my writing on this blog with a bang, so here’s a longish fic on my wildest dreams. feel free to request things in my inbox here!

When you first tell people that you happen to know CEO and multimillionaire Jeon Jungkook, they tell you one of three things:

1: You’re so lucky! Could you introduce me?

2: You must have saved an entire country in your past life.

3: Is he as much of an asshole as the news outlets make him out to be?

What you don’t say, though, is this: You and Jungkook have had history for as long as you could remember. As not only neighbors, but also childhood friends, you happen to know quite a lot about the man who made a name of himself before he even graduated from university. You would also very much like to keep quiet the fact that you’ve harbored a crush on the boy for quite some time now, obvious to everyone whose name isn’t Jeon Jungkook.

Jeon Jungkook is, in one word, brilliant. He is brilliantly intelligent, brilliantly talented, brilliantly beautiful. He is suave and smooth and gets what he wants and if he didn’t possess such a disdain for the tabloids that do nothing but stretch the truth, he would have them wrapped around his finger. Sure, he’s no actor or singer, but he is a celebrity, and a skilled one at that. The media know no boundaries when it comes to a man like Jungkook, painting him as stunning yet rude, rich yet selfish, smart but cold. You know they blow his brief affairs out of proportion, and you know they will never know the boy who fell off of his bicycle in the second grade.

Jungkook is not powerful enough to replace the stars in your sky, but he is powerful enough to rearrange them right in front of your eyes, creating endless constellations that all remind you of him. He is the boy you have cherished since your elementary school days, when he would accidentally drool on your shoulder and throw sand into your mouth, and you are the girl who, despite all class differences, has stuck by him through thick and thin. It is not enough, but perhaps to him, it is.

“Do you ever try to mooch off of his wealth?” People ask you. “I would.”

And sure, every now and then you will ask him for money and he will give it to you, but your intentions are pure and you do not, will not, ever take his generosity for granted. Not when he has so much and you so little. You know what life is like when the world keeps trying to trip you, and a bit of smooth ground is not enough to keep you from forgetting the struggle.

That is, until you get laid off your job due to an influx of new workers, and your next student debt payment is due in roughly, a week.

What?”

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