i'm leaving but i don't know where to

  • Pepper: A guy from work is going out of town this weekend and wanted to know if we could take care of his child.
  • Tony: Whoa, whoa, whoa, whoa, that's a big responsibility. What do we know about children?
  • Peter: I'm leaving. Bag?
  • Tony: [Hands Peter his backpack] I swear you'd lose your head if it wasn't screwed on. [To Pepper] I don't know the first thing about taking care of a child. [To Peter] Where is your jacket? It's very cold outside.
  • Peter: Forgot.
  • Tony: Here, take mine. [To Pepper] Kids are a lot of work.
Quote Writing Prompts
  • 1: "Yeah uh - Yeah no, that sounds awful."
  • 2: "Please... Don't leave me here. Don't leave me alone, without you."
  • 3: "So, that went well."
  • 4: "You're awful. I love it."
  • 5: "What the hell do you think you're doing, exactly?"
  • 6: "Is that... lipstick, on your collar?"
  • 7: "Did you do this?"
  • 8: "You know what? This place feels like home."
  • 9: "Oh shit. Am I - Am I in love? That's not supposed to be happening. That's not right."
  • 10: "Who are you? Where am I? What is this? WHAT IS GOING ON?!"
  • 11: "Dear (name), First of all, I'm so sorry. I really am."
  • 12: "I can't do this anymore."
  • 13: "So what, you're just gonna leave?"
  • 14: "Did you honestly think I wouldn't figure it out?"
  • 15: "You really think you can beat me? That's cute."
  • 16: "I'm tired of you. I really am, at this point."
  • 17: "Oh, just digging myself a nice grave, you?"
  • 18: "Shhhh. This is my favorite part."
  • 19: "Hey, can I hold your boobs for a sec?"
  • 20: "I think I may have found a song that accurately describes how I feel toward you."
  • 21: "Is that necessary?"
  • 22: "I don't like it."
  • 23: "I'm getting bad vibes... We should go."
  • 24: "HA! Loser!"
  • 25: "You wear me out, kid."
  • 26: "Is this a joke? This is a joke, right? You're joking."
  • 27: "The washing machine broke, I almost lost my keys, the car got dented, and a wasp got into the house and hijacked the bedroom for four days! Four. Days."
  • 28: "You're the greatest thing that's ever happened to me."
  • 29: "You kiddin'? That's brilliant, c'mon!"
  • 30: "So what do you say to this: you, me, a nice big glass of milk, a thing of cookies?"
  • 31: "My hero."
  • 32: "That was harsh."
  • 33: "You better pipe down. I'm not laughing."
  • 34: "So you're really gonna do this, huh? And nothing I say can change your mind?"
  • 35: "So uh. I noticed you're kinda naked. Is that intentional, or... ?"
  • 36: "Why is there a dog in the living room?"
  • 37: "They mixed up our reservations. One room. One bed."
  • 38: "Oh boy. I'm on the weird side of YouTube again."
  • 39: "You, my friend, are a filthy sinner, and I approve wholeheartedly."
  • 40: "Did you mean like... this?"
  • Jimin: This is Jimini. Something for you to cuddle for the nights I can't be there.
  • Yoongi: A teddy bear? Psh I would never sleep with something so childish.
  • Jimin: Alright... *Goes to leave*
  • Yoongi: I mean you can leave him here though. I'm sure Jin wouldn't mind adding to his collection.
  • Jimin: Sure. *Smirks and leaves*
  • Yoongi: *Imediatly hides Jimini under his pillow with the post it note 'U touch, U die'*
  • Claire: A guy from work is going out of town this weekend to know if we could take care of his child.
  • Colleen: Whoah, whoah, whoah, whoah, that's a big responsibility. What do we know about children?
  • Danny: I'm leaving. Backpack?
  • Colleen: [hands Danny his backpack] I swear you'd lose your head if it wasn't screwed on. [to Claire] I don't know the first thing about taking care of a child. [to Danny] Where is your jacket? It's very cold outside.
  • Danny: Forgot.
  • Colleen: Here, take mine. [to Claire] Kids are a lot of work.
  • Misa: A guy from work is going out of town this weekend and wanted to know if we could take care of his child.
  • Light: Whoa, whoa, whoa, whoa, that's a big responsibility. What do we know about children?
  • L: I'm leaving. Bag?
  • Light: [Hands L his backpack] I swear you'd lose your head if it wasn't screwed on. [To Misa] I don't know the first thing about taking care of a child. [To L] Where is your jacket? It's very cold outside.
  • L: Forgot.
  • Light: Here, take mine. [To Misa] Kids are a lot of work.

Anon: Shikasara would make a good platonic relationship

(SORRY ANON I ACCIDENTALLY DELETED YOUR ASK AND I PANICKED PLS FORGIVE)

Killian Jones, the person who knows and understands Emma Swan better than ANYBODY ELSE, knew she would react the exact way that she did. He understands what his ‘leaving’ would do to her. How it would hit her and what she would do (remember how he asked her not to put her armor back on when she was leaving him in the Underworld? He KNOWS her).

Killian Jones isn’t thinking less of Emma, and I don’t think it’s fair for anybody else to do so either.

  • Aladdin: so Killian
  • Aladdin: do you think she likes me
  • Killian: dammit I'm a pirate, not a matchmaker!
  • Killian: I mean she's obviously in love with you and you with her, but--
  • Aladdin: you think so??
  • Killian: yes yes, I talked to her earlier
  • Killian: a lady in denial if ever I saw one, and trust me, I know how to spot one of those
  • Killian: besides, Emma showed me the movie
  • Aladdin: omg you really think she likes me??
  • Killian: good grief will you please leave
  • Killian: preferably to that room down the hall where the crew don't really go so two people could go there and not be disturbed, which is an interesting fact that I am sharing with you for no reason whatsoever
  • Killian: also, I might have a book of love poetry in my pocket
  • Killian: I mention this knowing that you are an accomplished pickpocket and Jasmine mentioned that she enjoys love poetry
  • Killian:
  • Killian: now go away, I don't care about your relationship
vld as things my friends have said
  • Coran: Aww i'm a proud dad @lance your such a pretty boy i will always protect you
  • Kieth: Leave me and my Texas memes alone you cunt
  • Lance: I don't know why i'm friends with all of you, you're all ugly and you don't take care of your faces
  • Allura: I'm the only queen here so fuck off you peasant
  • Shiro: I know where everything is in Sephora especially the highlights and eyeliners
  • Pidge: I'm the techquiz so fuck off
  • Hunk: you guys are fast to accept my food but not my feelings

Based on @ikkakujuu‘s analysis and @yoonicidal‘s analysis on KS’s colour meanings I’d like to say a little thing. Going to do it under the cut in case you haven’t read the new chapter. I read them on Lezhin

Keep reading

Run Away Sentence Starters
  • 1: "I'll run away with you."
  • 2: "Don't go..."
  • 3: "I'll miss you."
  • 4: "You can't just leave!"
  • 5: "Please, just stay here with me."
  • 6: "Where are you planning on going?"
  • 7: "You're really running away?"
  • 8: "Leaving won't solve anything!"
  • 9: "If you leave, I'll have no one."
  • 10: "I can't go with you..."
  • 11: "I can't stay here anymore."
  • 12: "I have no where to go."
  • 13: "There's nothing left for me here."
  • 14: "Let's run away together."
  • 15: "It would be better if I just left."
  • 16: "If I stay, I'll just ruin everything for you again..."
  • 17: "I already packed my bags."
  • 18: "I'm run away because I don't have a choice!"
  • 19: "I need to disappear for a while."
  • 20: "I don't know where to go, but I need to leave."
Petty Percy is extra petty during duels
  • Graves: Good job. I mean, if you were aiming for that cauldron display. You really hit the mark then.
  • Graves: Oh yes, definitely spread out. The barricade of idiots is really intimidating.
  • Graves: Have you tried, I don't know, hitting what you're aiming at?
  • Graves: How about I stand still? Will that help?
  • Graves: Look, I'm trying to help and your lack of cooperation and general ineptitude is making things quite difficult for the both of us.
  • Graves: I had to leave my bed for this. I could be under my blankets right now. Fast asleep.

anonymous asked:

Something I don't understand is in the episode where peridot got poofed her last words were"I'm the only one who knows about the-" this then leaves Steven curious enough to go into roses room then free her to get answers. I'm just so confused as to why cant he unpop bismuth like peridot if he wants answers like??

anonymous asked:

Hi! I'm writing a story settled in a future where after a war, people built a new society. I've noticed that my setting is extremely vague and confusionary. I don't know when i have to insert details since i'm writing in 1st person. Like, I jave characters, I have a decent plot, I have a nice world building, but when writing I'm leaving the latter out and it's a problem. Do you have any advice? Thanks!

Setting and World Description

I love this question, because I think it’s a really, really common problem, and it’s one I’ve faced on numerous occasions. We’re often told that we should know our setting really, really well, and that we should be able to describe it in great detail. But when it comes time to put that concept into practice in the story, nothing seems to work. It all feels “info-dumpy,” or like we’re trying too hard to paint the picture, and we start to fear that we might be boring our readers, who honestly just want to know what happens in the setting. 

So how do we execute setting description in such a way that it’s informative and engaging? 

First, the real reason we need all this info…

Imagine you’ve got a small town as your setting, with a major street that runs through it. Along the street, there are several small businesses. During story prep, you may have done sketches of this street, or at least made a small diagram to lay out where all the businesses are. You may have even gotten really detailed and dotted bus stops or traffic lights, to the point where you can visualize this street perfectly

So now you go to write your first chapter. Your protagonist leaves home and walks down the street towards the bus stop to go off to work. As they walk the street, you start thinking, “Man, this is the perfect opportunity to describe all the businesses they’re passing by!” So you start to do that, and it all starts to sound like you’re giving directions. “To the left of the flower shop is the post office,” and so on, and so on. 

But here’s the big revelation to this whole conundrum. Just because you know it, doesn’t mean you have to show it. 

The reason it’s encouraged to do so much setting development isn’t so you can pass it on to your reader. At least, not everything. It’s so you know where things are, and you can navigate the world better. 

Let’s say you did zero setting development, and as you were writing chapter one, you decided to have the protagonist mail a package. You throw in a brief detail about the post office being a two-minute walk from the protagonist’s house. Then, much later, your protagonist is buying some flowers, and you throw in a detail about the post office worker loading a truck outside, because the post office is right next door. And then the protagonist takes the bus home….except, didn’t you say in chapter one that they were just a couple minutes walk from the post office? Are there two post offices? Or did they just take a bus unnecessarily? 

See, the real reason it’s so important to know how things are laid out in your setting is so that you don’t make mistakes like this. If you had made a diagram of your town, you would know where all these things were.

Side note: And just to add here, this does not mean that you have to make a diagram of a fictional town before you start writing in it. If you’re not much of a planner, and this sounds awful to you, then just make one as you go. In chapter one, when your protagonist walks to the post office, make a quick little map with a couple squares that shows how close your protagonist is to the post office. And as you mention other buildings, add them to this map. Then you’re not adding extra things you don’t need.

So in conclusion on this point, don’t feel like you have to add in all the details that you’ve worked out ahead of time. There will be some that you need to share with readers, but there will also be many that you only need to help you stay consistent throughout the story.

How do I add the necessary info?

When adding setting details, they need to be relevant. And if they’re not relevant, you need to make them relevant. We’ll continue with our small town/post office/flower shop example.

For the sake of simplicity, we’ll say that the flower shop and the post office are next to each other. If your protagonist is only visiting the post office, then the location of the flower shop is irrelevant. But if the flower shop being there is a detail that you feel the readers should know, or it’s something you want to include as a stylistic choice to add depth to your setting, then we need to make it relevant. So how do we do that?

Give the protagonist a reason to either A) Think about the flower shop or B) Notice something around the flower shop.

  • A) Think about the flower shop.

As she’s waiting in line at the post office, she may have a clear view of the flower shop through the window. But don’t just have her observe it. Have it trigger some kind of thought. Maybe she has a sick friend or relative, and it reminds her that she should buy them some flowers. Or she’s done something wrong, and flowers might be a nice peace offering. Or maybe it reminds her that her garden is overgrown and it needs tending. Any of these thoughts actually trigger deeper plot development, which makes them a double whammy.  Who is sick? What did she do wrong? Why is her garden overgrown? Is it always overgrown or is there something in her life that’s causing her to slack on this?

Whatever route you decide to go with, you’ve now made that flower shop relevant to the protagonist’s inner conflict, even if all it’s doing is triggering something.

  • B) Notice something around the flower shop.

This “something” could be something about the exterior of the building, or an employee they can see through the window or who is out on the street, or it could even be a couple of people standing outside the flower shop talking or doing something. The significance here isn’t so much the flower shop, but rather what’s happening around the flower shop.

In describing whatever is happening, you would say something like, “In front of the flower shop next door…” and then write the situation. In this method, you’re not giving special meaning or significance to the flower shop; you’re simply adding more color to your setting by mentioning that there is one, and a reader can visualize the scene even better if they picture a window of flowers behind whatever is happening. It ends up serving a huge purpose in just a few innocuous words.

The Bigger Picture 

Okay, all flower shops and post offices aside, good setting description is integrated when a character “bumps into it,” either literally or figuratively. Describe settings when a character enters them, or when they’re thinking about them. If you feel like the description is necessary, then you need to find a reason to get the character to either go there, or else think about going there, or remember going there. It needs to have context with other story information.

When it comes to complex world-building details, you follow the same principle. If there are unique circumstances that your character has to face in the world you’ve created, explain them in moments when the character is either facing those circumstances, or when they’re thinking about facing them or remembering facing them. 

I suppose you could argue that I’m making this more complicated than it needs to be, because there are readers that love description for description’s sake, but for many readers, we need context. We need to know that what we’re reading is telling a story and moving events forward, rather than just informing us or educating us on a story world. 

Plan minor story events around exposition. Make things happen in your story that help to reveal the important details of your world and setting. It might seem clunky when you first start doing this, but if you’re patient with yourself, eventually you’ll be integrating description and world backstory like a pro. 

Keep going!

-Rebekah

  • <p> <b>Marzia:</b> A friend of mine wants to know if we could babysit his kid for the weekend.<p/><b>Felix:</b> Whoa, whoa, whoa. That's a big responsibility. What do we know about children?<p/><b>Jack:</b> I'm leaving. Bag?<p/><b>Felix:</b> *Hands Jack his backpack*<p/><b>Felix:</b> I swear, you'd lose your head if it wasn't screwed on tight. [To Marzia] I don't know the first thing about taking care of a child. [To Jack] Hey, where's your jacket? It's cold outside!<p/><b>Jack:</b> Forgot it.<p/><b>Felix:</b> Here, take mine. [To Marzia] Kids are a lot of work.<p/></p>
Cheating Sentence Starters
  • "I'm sick of being your little secret!"
  • "I can't do this anymore."
  • "You were supposed to be out tonight.."
  • "The way he/she looks at you.. I can't believe you're wiling to ruin that."
  • "I'm done being your booty call."
  • "It feels wrong, doing this with you."
  • "I didn't mean for you to find out this way."
  • "Don't tell me you're actually starting to grow a conscience?"
  • "He/She's going to be out all night. Come over?"
  • "Shit! He/She's here! Hide!"
  • "That's all I am to you? Your side whore?"
  • "I hate seeing you two be all coupley in public when I'M the one you're fucking."
  • "Don't you feel guilty at all?"
  • "But you have a girlfriend/boyfriend/wife/husband..."
  • "I want to leave him/her. I want to be with you. I just can't yet."
  • "You're my best friend's boyfriend/girlfriend--I can't do this to him/her."
  • "I told him/her I was going on a business trip."
  • "Do you have any idea how awkward it is to have him/her confide in me about how he/she thinks you're cheating--when I'M the one you're cheating with."
  • "You're the only person I'm with, why would I lie to you?"
  • "Alright, where is he/she?! Where are they hiding?!"
  • "We can't keep doing this.."
  • "Are you screwing him/her?"
  • "I don't know what to think, I just know what I saw!"
  • "Be honest with me. Are you cheating on me with him/her?"
  • "I can't believe you'd do something like this! Was I not good enough?!"
  • "He/She can't do it like I do. That's why you keep coming back."
  • "...Who is he/she?"
  • "I can't be responsible for ruining a relationship."
  • "Don't pretend I acted alone on this, it takes two to tango."
  • "He/She found out."
  • "Meet me in the locker room during free period? He/She had a test."
  • "Meet me at the hotel tonight?"
  • "I can't handle them anymore! They're practically driving me to cheat!"
  • "How do you sleep at night?"
  • "W-What's going on here?"
  • "It's not what you think!"