just-write-this

you know that trope in shows or movies where the evil character is in captivity and starts talking to the Heroes to try and mess with their minds, and starts analysing them going “face it you’ll never be good enough” … “you try to act tough but inside you’re broken” … and the Hero gets really rattled and upset.

well i want a scene like that where it doesn’t work

Villain: “You have a darkness inside of you. You try to hide it, but it’s there–”

Hero: “Yeah that’s the depression, there’s pills for that.”

Villain: “You try every day to make your mother proud. Even after death, it still haunts you. But she’ll never be proud of.”

Hero: “Well yeah, she was an emotionally abusive narcissist, she was never proud of anything I did, what else is new.”

Villain: “You put on a good show, but deep inside I know you don’t feel worthy.”

Hero: “I know, man, I’ve been trying to work on that in therapy.”

Like… give me characters who know they’re mentally ill and traumatised who can’t have it used against them because they’ve fully accepted it

3

what i’m loving the most about this scene is that, despite the non-existent history between these two, emori and clarke create this very big contrast between each other: the one who wasn’t loved (emori) vs. the one who was loved (clarke), and the one who thinks they have no choice “you think i have a choice?” (emori) vs. the one who has realized that they always have a choice (clarke).

i love that clarke gets this very close view into emori’s life, because i always found it to be necessary for her to talk to someone on this level - more as an individual who gets to have a heart-to-heart, rather than a leader. it’s not just emori truthfully opening up in this scene about her experiences, insecurities and rage and other types of emotions, but also clarke, who is pushed into a rather sincere communication (if you look at things from her pov) which she initiates.

the things she shares with the audience and emori are so terrifyingly honest - e.g from the things she’s done as a leader and the fact that she can never understand what it feels like to be emori, to be truly alone; the conclusion she shares “but i do know what it feels like”, which harkens back to her first scene with abby where her mother tells her that “no. we have to make a choice” when clarke thinks they have no other choice than to just go along with whatever they need to do; the courage to embrace that truth about herself in these tiny steps; how the narrative highlights how she feels; and how her emotions in regards to her actions don’t even line up with the image of “the commander of death” that emori now places upon herself, because that title has always been less a descriptor of something clarke inherently is and more as something she’s perceived as due to what she has done. the writers make such good use of the “wanheda” image in this scene by poking holes into it, its pretty great imo.

and don’t even get me started on emori, i’m so down for that girl; she’s so different from any other character we’ve seen on this show so far - especially when you think of the things she was forced to do in order to survive, and how her view drastically sets itself apart from all the others in connection to those actions. anyone want a front-row seat for the time i express my weirdly endearing love for her? it’s for free, i promise. it makes all the more sense why she is so desperate on making this work out the way she planned it (not that i didn’t consider it before to be honest, but emori’s emotional expression put more truth into everything imo), and the twist is mind-freezing because it’s emori who propels the story into a whole new dimension for me, and you’ve got to have some serious talents in order to do that with a viewer like me, just saying, lol.

anyway. essentially this moment is functioning as such a great worst-case scenario for two characters who put themselves out there. it’s really fascinating.

i mean, i don’t even know what the point of this post is anymore, i’m kinda drifting. but i really love that clarke just gets to be clarke in this scene by creating a contrast to emori, who just gets to be really hardcore emori in this moment. their interaction creates such a great conflict in which you understand both.

andreil going on roadtrips is literally??? just the?? warmest thing ever????? they werent able to do it before, for spring break, because of all the bad stuff that happened…but just imagine like sometime in the summer. for 2 weeks or so they get to be together, alone, free of worry leaving it all behind ((including kevin much to his distaste bc he didnt want to have the court so far from him but hes able to stick with his dad so its ok. also andrew pulled out the knives))

  • having just the road beyond them!!! they travel for hours with no real destination in mind, only the feeling of being able to be with each other like this 
  • with their fingers loosely laced together in the middle of the console and the windows down with the wind blowing through their hair. sometimes neil will stick his head out to really breathe in and feel his blood rushing because freedom is right here in front of him in the palms of his hands and it feels so good
  • andrew glances at him before turning back to the road again and his heart is clenching and burning with this entirely new feeling because neil still feels like a fucking pipe dream even though he is right there with him. and he always will be.
  • after a while they’d stop at a rest area, or maybe just the shoulder of an empty road. andrew would step out and go to neil’s side and lean against the hood of the car while lighting 2 cigs
  • they both breathe in the smoke while they lean back to stare at the starry sky which is extremely clear without light pollution, except its only neil doing so, because andrew is staring at him from the corner of his eye instead
  • the awe on neil’s face makes the realization hit him that he’d burn down the world if that meant nothing would ever be able to take this away from him again ((am i speaking about neil’s happiness, or neil with andrew? ;)))
  • this muddles his thoughts and almost melts his fucking brain, so much that he has to ask “yes or no?” and pulling neil in by the collar of his shirt when he whispers out a “yes. always yes.” and biting his bottom lip for the last of it in retaliation which makes neil smile against his mouth
  • they spend nights in shitty motels with junk food and candy surrounding them on their bed, courtesy of andrew
  • theyre wrapped in blankets like a cocoon and sharing kisses and nuzzles to necks and soft touches like hands running through hair, warm hands on the back of necks and sometimes barely-there fingertips grazing up and down arms when andrew is comfortable with it
  • neil will send a pic of them on the balcony with the sunrise behind them to the foxes’ groupchat and everyone dies from it. andrew is glaring at neil and flicks the ash of his cig towards him and neil just smiles
  • neil would want to go on runs in the morning, to stick to routine, to sometimes push away nightmares he had the night before, but in the end he will always come back to andrew because he knows he no longer has to be actually on the run. and andrew will be waiting for him
  • and he is, with takeout breakast and a 2nd cig in between his fingers for him, and the steadying presence with the feeling of home
  • they dont exactly have plans for their days, just whatever comes to mind and whats easy, either lazing about watching boring movies with andrew’s legs thrown across neil’s lap or andrew slowly taking neil apart bit by bit with hot hands and harsh kisses. it all works for them
  • ((once neil asked if he’d wanna go running with him sometime and maybe check out whats around and what to do and andrew just stares blankly at him like ‘are you kidding me’ and neil has the audacity to laugh))
  • and even after many years that pass they’ll still take these roadtrips, a lot of them on a whim just to get away from everything and to wrap up into each other and feel how they still fit together like 2 pieces of a puzzle even after all this time
  • until the end of forever
The Changes You Can't See - a MikaYuu drabble

Yuu feels a little stupid he’s never noticed: Mika can’t sleep.

Naturally, he’d assume Mika would lay down in his room at night, because that’s what you do… when you’re human.

“You seriously never noticed?” Mika watches him incredulously.

Yuu scratches the back of his head, embarrassed. “I never paid it much attention…”

That’s a pretty Yuu thing to do, Mika must decide. He takes the explanation without much more of a fight, sighing a little.

Yuu can hear the ‘incredible" in that tiny puff of air.

He steps next to Mika, leaning against the shabby house wall, and looks out the starry night sky like Mika does. “How does it feel not being able to sleep?” Yuu asks in innocent curiosity.

Mika doesn’t answer. Yuu can feel him becoming stiff.

“… Not human,” He spits the words reluctantly.

Yuu huffs. The answer doesn’t please him, and silence is all that passes between them for a moment.

He thinks it must be lonely… to stand out here every night on his own– like the nights when Yuu would cry as a child. So loudly, apparently, that a soldier would snitch him to Guren and make him check on Yuu.

He wonders, did Mika cry too? Did he cry alone in a room, not getting the image of his family dying out of his head?

Did he have a Guren who came to check on him? Someone who stayed until he fell asleep?

“I can’t sleep,” Yuu lies, the words coming out of nowhere.

He turns to look at Mika, his face as innocent as ever. “Will you stay with me?”

Mika’s eyes grow wide. “You want me to stay with you in your room?”

“I want you to stay with me in my bed.”

Mika blushes. Even in the lacking light, Yuu can see it - feel it - more likely.

He lifts his hand to touch Mika’s cheek, the skin hot, stroking over his cheekbone with his thumb. “Will you?”

“Ah…”

Mika glances to the side.

“I guess.”

-/-

You’d think it’d be awkward to share a bed, but somehow… both seem to know exactly what to do.

Yuu faces the wall, laying on his side, and Mika casually places an arm around him from behind.

“This feels like something we’d do as children…” Mika mumbles, his voice full of warmth. He’s so close, his breath spills into Yuu’s hair, disturbing it.

Mika adds, “When you were still a crybaby.”

“I wasn’t a crybaby,” Yuu grumbles in protest. The tips of his ears feel hot.

“You were. You’d think I didn’t see with your back turned to me, but I did.”

Yuu grows silent. His brain is slowly connecting the puzzle pieces. “… Is that why you’d come lie next to me?”

“Maybe.”

There’s a smile in Mika’s voice.

Yuu’s ears grow hotter, and Mika presses a kiss to the back of Yuu’s head.

They don’t say anything for a while. There’s only the sound of them breathing and the beat of their hearts.

“Thank you,” Yuu mumbles eventually.

Mika’s presence always had something soothing. It felt like he wanted to be around Yuu, and Yuu wanted the same. It’s almost like they sought comfort in each other - back then - as they do now.

Mika mumbles back, “I have to thank /you./”

He shuffles closer, holding Yuu a little tighter, like he’s preparing himself to join Yuu in sleep.

Yuu forgets quickly that it’s something that Mika can’t do.

And never will.

OK so like,

- Edmund noticing you watching his sword fighting match, and instantly starting to use more complicated moves to impress you.
- You know what he’s doing, so you just laugh, because you were already impressed by him, and he’s such a cute smol bean.
- Secretly being even more impressed anyway because, damn boy, how did you pull that off?
- Him coming up to you afterwards and trying to flirt with you.
- You laughing because he’s just too cute.
- Him taking it as rejection, but you just laugh some more.
- ‘You’re an idiot, Ed, you think you need to impress me?’
- 'Well, yeah?’
- 'Okay keep doing it because it’s cute.’
- You walking off, leaving a blushing Edmund wondering what just happened.
- Him standing on the spot for a moment, before he comes to a realisation.
- Him running after you
- 'Wait, did you just call me cute?’
- Him rambling on about how he thinks you’re cute, and he wanted you to think he’s strong etc.
- You cutting him off with a kiss to the cheek, and reassuring him that you do think he’s strong and handsome.
- 'Well in that case you missed’
- Kissing Edmund on the mouth
- 'Was that better?’
- 'The best’

Today’s edition of fics I won’t be writing is brought to you by Dan Stevens as the Beast in Beauty and the Beast because naturally, that makes me want a Beauty and the Beast/Downton Abbey AU (inspired in part by Matthew Crawley’s story on Downton Abbey).

The Beast would be a spoiled young man who is heir to a vast, old estate just before World War I. In addition to being spoiled, he’s boorish and has no respect for the servants or the townfolk.

But even the heir to the Duke of Gascony can avoid the call to arms when war erupts, not if he wishes to keep his family’s good name intact. So he goes to war, where he continues his spoiled, ill-tempered ways.

And maybe it’s karma, maybe it’s a curse, but a shell explodes in his trench and leaves him grievously wounded. Not only is his face hideously scarred, but his back is broken, and the doctor tells him that not only will he never walk again, but he’ll never sire children.

Understandably, when the Beast returns to his home, he is not the same monster he was before; if anything, he’s worse. Less purposefully cruel, maybe, but a withdrawn shell of himself. And when his father tells him on his deathbed that his dying wish is for his son to somehow find someone to make him happy, the Beast goes into a deep depression, knowing that he has nothing now to offer nor any way to secure a proper arrangement. He fires most of the staff and isolates the few who remain from the nearby village.

When Belle arrives in the village, she is an odd girl, but not because she likes to read (though she does) or because she invents the precursor to a washing machine, but because she is nobility as well – a second daughter of a minor baron, to be sure, but nobility nonetheless, and one who has rejected the trappings of nobility, who skips her season and presentation at court and has zero intention of being pulled back into the world of the nobility, rejecting every suitor who pursues her.

But when the Duke of Gascony issues a formal invitation for her to join him for tea, not even she can refuse.

So she goes, only to find that it was not the duke who invited her, but his valet, and the duke is less than pleased to see her. He’s rude and curt and Belle is unafraid to tell him so. So the Beast orders her out. Not just out of his home, but out of the village. And Belle, who unflinchingly meets his gaze despite his now scarred face, tells him, “No.”

And the Beast is furious, and punishes her the only way he can: he invites her to stay at his estate during her time in the village, which leaves Belle held captive by propriety, as refusing the duke’s offer would be a grave offense, one not even she is willing to commit, if only for the sake of her family.

Thus she stays, and thus the story goes: Beast falls in love with Beauty, and Beauty with Beast, and there are servant shenanigans both downstairs and up, set against the changing landscape of the 1920s, and the Beast tries to send her away when he realizes his feelings, because she deserves to be with someone whole and healthy and everything she deserves.

But again, she refuses.

There’s no curse to break here, no enchantress to set him free from his injuries. But Belle’s love is still transformative, for while his scarred face will always remain, and while children may never be in their future, the Beast, with Belle’s love, is truly a beast no more. He becomes a philanthropist, donating much of his family’s money. He also opens the estate and allows the servants more time to spend in the village and they throw a ball for the whole county and Belle wears a yellow flapper dress because yasss.

And most importantly, they live happily ever after.

Until he dies in a car crash just when they’re finally happy #stillbitter

idk the idea of Downton Abbey Beauty and the Beast just makes me happy.

Soulmate aus

As Written By An Aromantic 

-The first words you and your soulmate will ever say to eachother are tattooed on your skin. You have no Words, just a brilliant watercolour mass directly over your left hipbone.

-Soulmates see in black and white until they meet, at which point they gain the ability to see colour. You have been able to see colour for as long as you can remember- sometimes, though, you remember something. A pain, a flash. The feeling of your heart stopping. A name that isn’t the one you use now.

-The name of your soulmate, and the name of your greatest enemy are written on your wrists. You don’t know which one is which- except. One of the names on your wrist is yours.

-You’ll know who your soulmate is the first time the two of you touch skin to skin. You’re an assassin who always covers your skin completely, and who wears a helmet while you work. You get an assignment to work with another assassin, and for some reason you feel strangely drawn to them

-The name of your soulmate is inscribed on your skin somewhere. A red name is the best- a long lasting passionate love. Pink is much like red, but less intense. People with pink names are more prone to marryins outside the soulmate bond. Green is for platonic soulmates- people with green names are often bullied for not being ‘good enough’. Purple means you’ll never meet.

Your name is yellow. You’ve never heard of yellow.

-You’ll only know who your soulmate is when they die. You’re a quasi-immortal who’s lived through the lives and deaths of your soulmate reincarnated over and over again.

-Soulmates share dreamscapes. You’ve never had anything but nightmares.

SENTENCE PROMPT (VOLTRON) Prompt # 1 (Klance)

Prompt from the-beauty-of-imagination

Lance knew he was clingy and annoying and sometimes he wondered why Keith even bothers spending time with him. It’s not like he’s interesting like Keith or talented like Keith is or anything as good as Keith. But Keith still lets him be a part of his life, so Lance is going to do everything he can to keep from messing this up.

This went from giving Keith gifts as often as he thought he could without being too strange, letting him choose what most of their activities were when they went out, and most of all, he wouldn’t ever push for kisses unless Keith initiated them.

He was often told he was overly affectionate, which had at times pushed certain people away. Keith wasn’t that affectionate of a person so he couldn’t push his boundaries with hugs and kisses unless Keith wanted them.

To him, it was the perfect plan to make this last and keep Keith from turning away from him- as most people did at some point. At least, anyone he was ever romantically interested in.

“How do I look?” he inquired to Hunk. They had taken a small break at a peaceful planet to gather supplies, leaving them with a few hours away from being paladin’s of Voltron to just relax and enjoy themselves.

Keep reading

OK, so I was doing @morshmalliver ’s b-day present and I realized the image was gone (like, shit, first the contracture now this) and as you can see the universe wants to kill me, so I was sketching again and I just couldn’t do it right and somehow it ended up in sad shit.

was flirting w/my crush and just suggested that we punch each other

im blaming drarry for this

badassbiebahimagines  asked:

Hey! I love your blog! I'm currently writing a mafia story and I don't know a good way to start it,do you have any tips/prompts maybe?

Hey! So sorry for the very long wait!

Tips:

• Start with something exciting/ interesting happening after a brief exposition.
• Introduce the basic traits of the MC off the bat. Are we dealing with a sassy extrovert, a snarky loner, a quiet geek, etc?
• Be as realistic as possible without sacrificing creative touches. Do your research on how the mafia works, the hierarchy, the rules, etc.
• If you want to add subtle clues to big realizations occurring later on, plant them from the beginning.
• Word dump any possible ideas for the beginning and edit later.

Prompts:

• The MC is escaping from the mafia.
• The MC is a mafia member who just lost the person they’re suposed to follow/kill.
• The MC’s loved one is the mafia leader and was just assassinated.
• The MC just witnessed a crime comitted by the mafia.
• The MC is a an undercover cop trying to join the mafia ranks.
• The leader of the mafia is trying to coerce the MC to join because they possess needed skills/connections.
• A gang war just began, and the MC is the leader of the mafia’s rival.

There should be more under ‘mafia prompts’ or 'gang prompts’. Hope I could help!

littlestr  asked:

After Taako found out I write stuff (as bards do) he won't stop bothering me, saying I should write something called "slash" with him and this "Kravitz"... When I asked who this guy even was all he said was "all you need to know is that he's super handsome, a huge dork, and likes tentacles and me" That made me too worried to ask for more about him.

I’ve just reread the spoilers for this week and Liv and Chas are leaving tomorrow? I thought we had another week yet. Now I’m sad. I’m not to fussed about Chas at this point, but I love LIv. We better get a good Robert/Liv scene tonight/tomorrow…