if you can avoid

under the cut you will find 46 connection ideas. a good portion of these are “piggy backs” on usual connections that go a little deeper (give me some depth to that neighbors connection – what kind of neighbors are they!?) for those of you that want plots that are more than the bare minimum like myself but aren’t quite sure where to start!

       there is one connection with a mention of alcohol, but i tried to keep the triggers at a minimum. the one with the trigger is labeled at the beginning of the connection so you can easily avoid it if necessary. if i’ve failed to mark a trigger, please let me know and i will update this immediately!

Keep reading

anonymous asked:

How about Genji sitting on a moving car in oasis? You can turn on "headshots only" in custom game to avoid dying, then jump on a car and attempt to emote if you have enough time.

((i assumed they would still kill you but jordan wanted to try it out when i told him about this ask. he tried it out, screaming. the cars still kill you))

anonymous asked:

I don't care what everyone else says, I will always be 100% convinced that Sherlock wanted a flatmate because he didn't want to pay the bedroom tax, he hates the government and refuses to contribute if he can avoid it

ASDFASDFASDF I’m not sure if you’re pulling my leg or being serious, Nonny, but this ask amused me and I am therefore posting it anyway. 

(PS. Is there seriously such a thing as “bedroom tax”??? Or is that the same as rental tax?)

I ask what your favorite part of the day was—but you only lean in for another kiss. I try to ask you what your favorite color is—but you only lean in for another kiss. What is it about this that doesn’t seem right to me? Why is it that you’d rather touch me, rather than get to know me? You draw the line and put your foot down so hard I can feel the Earth tremble before your feet as you’d rather not waste your breath if your lips aren’t pierced to mine and if your hands are not all over my body. You tell me getting to know each other is nothing more than a waste of valuable time. So you get angry, and I begin to walk on eggshells with you—again. I try my best not to spark your anger, I know how mean you can get, and I’d rather do my best to avoid that. So I let you kiss me, and kiss me you do, you move passed my lips as if you were driving down the desert highway in your red Camaro going over ninety miles per hour and you can barely distinguish the cactus you just drove by. Now you’re below my head—at this point I’d rather be below the water. You can’t see the fear in my eyes because you’re too busy eating me alive. I ask you nicely to stop and so the eggshells come back along with your anger—and so I try to apologize again. I’m sorry for my words, but understand I’m not as comfortable with this as you seem to be. You seem to be a professional at what you do, as it’s a constant reminder you’ve had more like me—and so returns the fear in my eyes. You beg for more, but now the pen is in my hand and now I must quickly scribble a line that to you seem effortless to cross but I attempt to keep my guard up, like the Trojans in their horse. I beg you to stop but once again I’m not looking at you in the eyes, I’m face to face with the anger you keep deep within your being. I shiver as I grab the courage, like I’m grabbing onto the armrests of the airplane as it takes off onto the sky, and I finally tell you the parts you’d want from me, are parts I will not give. Here’s your anger again, and my apologizes now seem to sound like a broken record, but I cover my eyes with my shaking hands and I beg you to stop, but you want more, please stop, I cannot give you anymore—I’ve had so many people take these pieces of me and I’m not sure you’d give them back. I’m back to black and back to remembering the engraved phrase of “trust no one” I have to constantly reminding me others will come and take and go and never show up again and it’s a reminder to keep what I have near and never let go. You just opened the passenger door of my car, which has seen us climb the highest mountains and sink to the lowest oceans as quickly as it’s driven through these highways—look at the mess we’ve made. I try to scramble an apology but you’re tired of hearing it and I’m tired of making excuses as to why you don’t understand me. So you walk out of my car and symmetrically walk out of me life—I’m sorry.
—  I’m Sorry I Cannot Give You These Pieces and Parts of My Being (Monologue); C.D.

I almost knocked into a guy carrying a full big gulp in front of him the other day but got out of the way at the last second and I feel like I narrowly avoided certain death.

Can you imagine an entire big gulp spilling on you. That’s like a fucking gallon

anonymous asked:

Hiii I absolutely adore ur content and ur handwriting and ur personality in general and I was wondering how exactly do u use ur purple study schedule printable, thank you!! Have an awesome day 😊

Hello! That is so lovely, I’m flattered. Thank you! The study schedule can either by for planning out your week in general or planning out your study sessions. How I’ve used it is to write in my commitments by the hour then add in when I have the opportunity to study. I personally think it’s great for prepping your studying for exams. It encourages you to break up your studying over the week and avoid cramming! It is also good since you can map out the different areas you want to cover so you aren’t getting bored. For example, you can plan to study biology on a Monday and Thursday, maths on Tuesday and Wednesday, then science over the weekend. Here is an example of me using it. I’d also recommend checking out my tagged photos on my Instagram @emmastudiess - some of my lovely followers tag me in their photos so you can find some more inspiration there! xx

anonymous asked:

For the last Anon, wearing shorts or leggings under dresses can help and also having short hair is good. But overall, if you can avoid it its best to wear clothes you feel comfortable and confident in. Dysphoria is hard but it doesn't last forever, hang on ily ❤

Thank you 💙💙💙

It’s Okay to Say No.

If you feel uncomfortable about something in your dog’s training then it’s okay to say:

  • “My gut tells me this is wrong for my dog so I’m not going to try this.”
  • “I feel uncomfortable doing this with my dog so I’m going to stop.”
  • “This isn’t the direction I want my dog’s training to go in.”

It’s feels weirdly difficult to say no when everyone else is telling you that it is okay.

  • “I did it with my dog.” (so it should be fine for your totally different dog)

  • “I did it with my dog.” (are you saying that I don’t care about my dog?)
  • “If you just try …..” (I don’t understand your feelings of discomfort so you must be suffering from a lack of information)

  • “You are using +R methods so everything is fine.” (but Bosco will do what Martin asks him to do, even if it hurts)

It’s really helpful to have an experienced mentor who actively listens to you.

  • Martin’s mentor ignored her instinctual feelings in the past and two of her dogs were injured. She wants Martin to learn from her painful mistakes. She listened carefully when Martin explained why he didn’t want to teach Bosco an exercise.


  • no one understands your dog’s capabilities better than you
  • you are responsible for your dog’s safety, and 
  • you are the person who is going to have to care for your injured dog (let’s not talk about death because it’s too sad).

I’m going to repeat myself because it’s important.

It’s okay to say no.

But it isn’t easy to do.

  • it is february 1980 when they meet at a funeral
  • they are two red-haired women, one pureblood and one muggleborn, but neither of them care because blood does not matter
  • (except that it does. except that this whole stupid war is about blood)
  • they are two red-haired women with the future of the wizarding world growing in their bellies
  • and this is how it goes
  • gideon and fabian prewett go into the ground that day
  • molly, the last remaining prewett, feels like she’s drowning
  • (and although she is now a weasley, she will always be a prewett)
  • arthur’s hand in hers reminds her that she is not alone (far from it, in fact), but it does not ease the pain, the grief of losing all that was left of her family in one fell swoop
  • there is a stream of endless platitudes and consolations, so repetitive and meaningless that they blend into one another
  • (and she feels awful for the ones she has offered in the past)
  • (sometimes words mean so little)
  • she tries to tune it all out. sometimes she mutters, ‘thank you,’ towards her feet, but mostly she is silent
  • ‘when are you due?’
  • it is the only question that cuts through because it is so thoroughly unexpected, especially at a funeral
  • looking up, she meets a pair of brilliant green eyes, softened with sympathy in this moment
  • (but she knows just by looking at her that this woman can be hard, so hard and strong when she wants to be)
  • (and behind the woman stands a tall, bespectacled man with black hair, wilder and messier than hair really has a right to be, and she knows immediately that they are lily and james potter, who gideon and fabian talked about because of how bright and brave and in love they are)
  • when she does not answer, lily tries again, ‘you are pregnant, right? this isn’t some awful, social faux pas where i’ve asked a woman if she’s pregnant when she’s not, right?’
  • james sniggers and lily elbows him in the stomach
  • (and she wonders about these two, clearly so young, too young, for war and for a baby and for merlin knows what else might be coming)
  • (but she sees the way he holds her hand reverently, and the way she looks up at him reproachfully, her eyes betraying her amusement and embarrassment, and how he smiles and she smiles back and molly may as well not be there because they are so in love and damn the war)
  • ‘march,’ she eventually answers and the anxiety in lily’s face melts away
  • then molly casts her eyes downwards and smiles
  • ‘and you?’
  • ‘august,’ she answers, glowing like only a woman who is creating life can
  • lily’s hand skims across her stomach, the instinctual action of a woman whose belly is full of baby
  • (and molly would know, she has patted her own belly too many times to count)
  • ‘well, i guess our children will be going to hogwarts together, then,’ molly muses aloud
  • ‘maybe they’ll be best friends,’ lily smirks
  • and, for a moment, molly feels lighter because it is so reassuring to talk about the future in this way, to think about her children growing up in a world where they’re safe and happy and blood doesn’t matter and they can be whatever they choose to be
  • ‘potter and weasley,’ james is staring dreamily at the sky before dropping his gaze back down and grinning widely
  • ‘hogwarts won’t know what hit it.’
  • she never sees them again
  • her hands shake when she reads about them in the daily prophet
  • and she cries when she thinks about how they were bright and brave and so young
  • (too young and so in love)
  • (and now gone too soon)
  • she never forgets, but the memory does fade, the memory of meeting a vivacious couple on one of the worst days of her life and how they gave her hope for a future when the word future felt like taboo
  • and it doesn’t happen the way any of them had predicted, but it happens
  • because ron writes home in september 1991, talking about how he made friends with harry potter and how he stuffed himself silly on the hogwarts express because harry was generous and cool and being friends with him was easy and natural
  • so she thinks of lily and how she rubbed her belly, green eyes alight with hope
  • and she thinks of james and his cheeky grin and what he said that day
  • ‘potter and weasley. hogwarts won’t know what hit it.’
  • and she smiles
Witch Tip

When writing a spell, I like to go through the who, what when, where, why, and how of the spell. 

  • “Who” is the target/recipient of the spell. In my case it is usually myself.
  • “What” is the objective/s of the spell.
  • “When” is the time frame of the spell. I include starts, ends, and any times it is to recur. These can be “when requirements x, y, z are met”.
  • “Where” is simply enough the location/s. May be tied to an individual.
  • “Why” gives you a nice reminder of the spell’s purpose, and can avoid spells backfiring ironically by “working” but against their ultimate purpose. This may be a good time to reflect on your rede or other moral code, and add a “clause” to keep your spell working within it.
  • “How” refers to the “route” which you want your spell to take, but also what energy will be used to power the spell.

This format lends itself well to written or digital records of your spell, and clearly defines all aspects of it.


A shoddily-drawn response to a Twitter rant shared by an illustrator I admire.

The fact is, most human beings have at least some racist/ethnocentrist influences that affect their ideas. It’s literally impossible to avoid. 

You can recognize this and be attentive to your own thinking about members of other groups (and your own) without making the fallacious claim that all white people are racist, or that white people are especially racist, or that racism is only harmful if it’s coming from white people.

Being white doesn’t make you racist. 

Stereotypes aren’t the solution to racism. 

Do people the basic courtesy of treating them as individuals, and encourage others to do the same.

Everytime someone talks shit about my beautiful chubby jewish baby being a “bad protagonist” or an “annoying character” or EVEN a fucking “Nazi Hugger” all I can think about is poor Rebecca being like…