our definitions

Beach day

Step 1: wake up at 5am
Step 2: Get in car to take dog to the beach
Step 3: Proceed to fuck up and end up an hour away from home at a totally different beach than planned
Step 4: when you try to leave later, forget where the parking lot is and spend over an hour and several miles walking through beach neighborhoods trying to find your damn car
Step 5: dog beach day complete

P.S. dog beach pictures available on my dog blog @pocketpaws

anonymous asked:

wow okay you're literally so nice and i love your portrayal of steve jhskmnd i hope you're having a wonderful day!

wow okay  YOU’RE  so nice and this literally rocked my entire day sldjfs i’m honestly crying this made me tear up because i think we can  ALL  be hard on ourselves about our portrayals,  i’m definitely not different.    i’m very critical of my own writing,  and of course that includes my portrayal,  but hearing that my steve is enjoyable and people love what i write for him really makes it all worth it so thank you so much <3    thank you so very much !   i hope you have a great week, alright i love u !!

fanfiction is a story written by a person in the fandom because breaking into the creators office and telling them that everything that they did is wrong and rewriting it is considered “rude” and “illegal”
—  One of our favorite definitions of fanfiction, from the Fanfic Definitions survey - results coming out on @fansplaining later this month!

When you say a fandom is dead, it’s a bit of a blow to people who are still producing and enjoying work for that fandom. You’re basically saying what they’re doing doesn’t matter, doesn’t count, which might discourage them from continuing to participate.

If one person is creating content, the fandom isn’t dead.

If one person is consuming content, the fandom isn’t dead.

If two friends are chatting on skype about their OTPs, that’s fandom.

If someone doodles drawings of their favorite characters on a napkin, that’s fandom.

Just because someone is producing content for one fandom doesn’t mean they have to leave another.

Not every fandom can be the big, new, shiny and popular thing.

Not every fandom *should* be the big, new, shiny, and popular thing.

It’s okay to have small, tight-knit fandoms. They can be just as fulfilling and entertaining as the big ones.

  • me: babe check out this high chair I bought on craigslist for our baby
  • wife: that's definitely a lifeguard's chair
  • me. not the character 'me' in this fictional scenario, but me, the creator of this post: I guess the joke here is that lifeguard chairs are very tall, and the character was looking for a high chair for their baby. It's literally a high chair. You can even imagine the characters climbing up the ladder to strap the baby into the chair and retrieve it afterwards if you wish. Haha have a good night everyone

prongswhatthefuck2  asked:

What are some good tips for getting started with writing a book? I have a concept but i can't put it into place.

Getting Started with Your Story

There’s no one way to start writing a book. For some people, it’s enough to just jump in and start writing to see where the story takes them. If you’re not too keen on that idea, then here is one process (as in, not the only process) that might help you move beyond your concept. 

  • Concept ≠ Plot

Many writers mistake concept for plot, but they’re actually two very different things. A world where everyone grows up with superpowers is a concept; the plot is what you decide to write about within that concept - the specific characters and what happens to those characters; who your antagonist is and what conflict arises when that antagonist goes after what they want. All of these things contribute to your plot. 

So first, define what it is you actually have at this particular point. Do you just have a concept? If so, you’ll need to take the necessary steps to develop that concept into a plot. 

  • Concept >>> Plot

If you’ve decided that all you really have is a concept, then how do you take it and turn it into a plot? You brainstorm. All brainstorming really amounts to is expanding your ideas. All you’re doing is asking questions about the concept and delving deep into the answers. 

The most simplistic way to start this process, especially if you’re struggling, is to ask one of two questions (or both, if applicable). These two questions: What could go wrong? What could go right?

Going back to my example about a world where everyone grows up with superpowers. If I were to ask the question “what could go wrong,” I’d end up with a whole list of possibilities. 

  • The powers suddenly disappear
  • People start abusing their powers
  • Someone figures out how to steal powers
  • A hierarchy of strong vs. weak powers develops, creating superiority/inferiority dynamics
  • Someone is born without a superpower

There are many more possibilities I didn’t even think of here, but any one (or more) of these could become a plot. Choose one that sounds interesting, and then ask yourself “and then what?” 

Say I choose: Someone figures out how to steal powers. Then what does that person do? Do they recruit people to do the dirty work for them? Do they work alone? Do they hoard these powers and barter them for other goods? Do they attempt to enslave people? Do they attempt to take control of institutions? What do they do?

Your goal is to take your ideas and turn them into actions taken by characters. People doing things. And each piece you add will usually lead into another. If you went with the idea that this character is stealing powers and essentially selling them for other goods, you’d have to ask yourself follow-up questions. First, who are they selling to? Why would anyone buy a new superpower if they already have one? What uses would they have for additional ones? What is the key demographic that this person is trying to reach? Secondly, what are they selling them in exchange for? Money? Favors? Souls? What is this character getting in return?

Now that you’ve examined potential actions that the character takes, you’ve also exposed potential new characters. 

  • People they’re stealing from
  • People they’re bargaining with
  • People that try to police these crimes
  • People that try to copy this character’s process

At the beginning of this section, I talked about using “what could go right” as another optional jumping off point. This is a good path to follow if your concept is already really negative. For a concept where someone is killing people for some pointed reason, you might ask “what could go right” and explore ideas where the killer is caught and brought to justice. 

The point of all this is to think about change as a means of taking your idea from concept to plot. A concept is static - it doesn’t move, evolve, or change. By developing a plot, you’re forcing the concept to be challenged in some way. If you think about it that way, you’ll be able to formulate conflicts, and the people that orchestrate and fight against those conflicts. 

On that note, I think we’re ready to move onto the third piece of my graphic above. 

  • Plot = Character Actions and Consequences

At this point, you have sketches for characters. You’ve got this nameless, faceless person that is stealing the powers, and all these other nameless, faceless people that I listed above. In essence, we have character concepts. And just like we turned our initial concept into a plot, we have to turn these character concepts into actual characters. 

The basics are the easiest way to start. You figure out their name, their gender identity, their age, their appearance, some brief backstory and personality traits. I personally prefer the simplest questionnaire that I put together back in the early days because it hits on the poignant pieces of a character without overwhelming you with 100s of questions. 

Now that you’ve given your character concepts names and faces and potential behaviors, you start to consider how one character’s view of the world inspires them to take certain actions, and you then think about how those actions affect your entire story. 

We already kind of talked about the motives of the power thief in our example, but definitely delve deep here. On the surface, this character seems bad - stealing from people and then selling what they steal. But depending on what it is they’re getting in return, could we not argue that this character is a supernatural Robin Hood? Maybe instead of selling, they’re giving, and maybe the characters they’re stealing powers from are people that abuse and misuse their powers. Character motives can take a plot and turn it on its head, forcing you to reconceptualize everything. And that’s okay! That’s part of the process.

But separate from that idea, if we have a character concept of someone whose powers were stolen, and after developing their basic backstory, we discover that person’s name is Rose, and she has an especially close relationship with her brother. So when her powers are stolen, how does this affect her life? Was she using her powers to keep her brother alive and protected? What she using them to keep a roof over their heads? Was she using them as part of her job, as a means of providing? What happens to her life when her powers are stolen? And what will Rose do about it? Whatever Rose does will impact the story. If she does nothing to get her powers back, how does she solve her problems and does that make for a good story? If she does decide to act, then you’ve moved onto a new plot point to dive deeper into.

My point is, character concepts come from plots, but characters themselves often create plot, as their decisions and mistakes and successes create new outcomes. So if I could modify my original flow chart:

Before you develop something, you conceptualize it. You have a concept, then you make it a plot. You have concepts for characters, then you make them characters. And those characters end up driving your plot, to the point that this happens:

Plot inspires character. Character inspires plot. And it just keeps going around and around and around. Breaking it down into these pieces helps organize the process, but developing a story is rarely this neat and tidy. You’ll get ideas that don’t make sense, ideas that aren’t cohesive, characters you don’t need, characters that piss you off, problems you can’t solve, or plot points you’ve committed to that you no longer like…it will be messy. But it’s your mess, and the more you work on developing your own process, the more it’ll make sense to you. And it’ll become easier to know how to go about fixing it when something’s not right. 

Have fun with this process! It’s supposed to be fun. When the pieces start to become clearer, you’re able to put them together in a rough outline. And once you have a rough outline, you can start writing, and really see it take shape. 

-Rebekah

HeroAka Kareshi: Todoroki Shouto (Snow Day)

Todoroki: Oi

Todoroki: Even though I told you to wait in the classroom….what are you doing? In snow like this without an umbrella, are you playing in the snow…

Todoroki: Saying you don’t need an umbrella in the snow…if it melts it’s water. You’re covered in snow

Todoroki: You, you’re honestly an idiot…don’t get angry

Keep reading

7

C e r t a i n t y

JalecMonth - Week One: Definition

How do I define Jalec? Friends, parabatai, soulmates, lovers… there’s so many different aspects to their relationship.
The bottom line, for me, is the certainty that no matter what, they will always have each other.
They chose to share part of their soul with one another, and now a part of Jace will forever belong to Alec, and a part of Alec will forever belong to Jace.
No matter what happens, no matter where they go or what the world throws at them - in the end they will always find their way back to each other. At the end of it all, it will always be the two of them.

3

Cassini gets up close & personal with icy Mimas

The first two images show off the giant Herschel crater, a distinguishing feature of this moon. The second gives a better view of the mountain peak within the crater. The shadows cast by the crater and mountain peak give a glimpse into just how massive this crater truly is. The last image is one of the clearest images of Mimas to date.

100 Lies And False Statements From Trump’s First 100 Days

Donald Trump’s frequent claim that a wave of people voting illegally cost him the popular vote is a lie. So is his claim of gigantic crowds at his inauguration. And from that foundation flowed an unprecedented torrent of flat lies, wild exaggerations, and what the experts call “bullshit” — statements not even intended to reflect the truth.

As the president approaches his 100th day in office, an extensive — but not exhaustive — BuzzFeed News review found an average of one false statement per day from Trump and his top aides.

We don’t take calling things “lies” lightly. (See our definitions at the top of this article.) And we don’t suggest that Trump is the first president in history to lie: As I.F. Stone once wrote, “All governments lie.”

But Trump’s falsehoods come with an unprecedented frequency, scale, and lack of shame. They are a defining feature of his tenure, and have helped create a crisis of credibility.

Continue Reading.

Kiwi Analysis

So, on Friday, me & @captiveharts read the lyrics of this song almost at the same time, and then when we started discussing them, we realized we both had thought the same thing. Yes, we do think it’s a song about stunting, and we do think it’s about a stunt in particular. Not b*bygate, though, but H*ylor (that is probably the stunt lol). And Harry saying this song started as a joke at the Breakfast Show with Nick, made us think this probably started as a “you know, i really need to get this off my chest” thing: it started as a joke meaning that he probably wanted to make fun of her and of her habit of writing about her exes. It was probably just “a bit of a banter,” & then at some point, they must have gone like “you know, this could be good,” & turned into a proper song.
But with no further delay, let’s start our analysis.

●     “She worked her way through a cheap pack of cigarettes
Hard liquor mixed with a bit of intellect.

○     The first line can be a metaphor of how TS started from the bottom as a Miss Nothing & then turned into a pop princess/America’s sweetheart™,

○     The second line can be about how business-woman-alike she always acts. Everyone always says – even if she enjoys acting like a naive little girl – she’s actually really smart (& she knows it).

●     “And all the boys, they were saying they were into it,

○     where “all the boys” are obviously all the men TS stunted with

    ■     many of whom are surrounded by gay rumours,

    ■     reenacting every single rom-com cliché (no, Tom Hiddleston, I haven’t forgiven you yet for going around with that hideous I <3 TS tank top)

    ■     “Into it” can also be interpreted as a way of accepting a deal, & getting along with it.

●     “Such a pretty face, on a pretty neck.

○     Does this one really need an explanation?

●     “It’s New York, baby, always jacked up,
Whole tunnels, foreign noises always backed up.

○     Well, NYC plays a big role both in TS’ personal life, and for the whole length of that mess that was H*ylor.

○     The lines Harry & his co-authors wrote seem in fact to mock a bit TS’s Welcome to New York (Walkin’ through a crowd, the village is aglow / Kaleidoscope of a loud, heartbeats under coats)

○     Harry and Taylor are papped several times together in NYC:

   ■     The first time they were spotted together was in Central Park

   ■     Taylor went to 1D’s after party after their concert at the MSG,

   ■     They were both papped again in NYC while leaving their hotels

   ■     They were seen together at the Jingle Ball’s backstage

   ■     And of course there’s the whole super yikes NYE ball drop thing.

●     “When she’s alone, she goes home to a cactus,

○     This is probably the most “obscure” line in the whole song, but we thought it could mean that she’s basically going home alone, finding nothing but a plant in her empty house. TS likes surrounding herself with people – her “squad”, her countless boyfriends – but at the end of the day, these are mostly stunts. We don’t know which relationships she has are actually real (*cough* Karlie i know you’re real *cough*), but most of them are probably just for the sake of the press and the media.

●     “In a black dress, she’s such an actress,

○     TS is actually known for wearing a lot of black dresses/outfits 

○     She referred to herself as “the girl in the dress” in Dear John (The girl in the dress cried the whole way home and The girl in the dress wrote you a song).

○     About the actress thing, well:

   ■     TS is literally an actress as well since she played a couple of roles in some movies (Valentine’s Day, The Giver, etc),

   ■     she’s an actress metaphorically because of all of her stunts & the girl next door image she’s built for herself.

○     But with this line, Harry also seems to mock an old TS’s song, Better Than Revenge, where on her turn, she was mocking a girl who had “stolen her boyfriend from her” (She’s not a saint & she’s not what you think / she’s an actress, oh oh / she’s better known for the things that she does / on the mattress, oh oh).

●     “Driving me crazy, but I’m into it, but I’m into it, I’m kinda into it,
It’s getting crazy, I think I’m losing it, I think I’m losing it.

○     Okay, first of all, crazy. Harry repeats it twice in each chorus, & he stresses it when he sings it.

○     Crazy is definitely a word that comes up to everybody’s mind when they think of TS:

   ■     because of the psycho girlfriend image that has been build up around her public persona (there are loads of parodies on Youtube, media have often talked about it)

   ■     and eventually, she has – very smartly – referenced it herself in Shake It Off and especially Blank Space (and in fact she acts like a psychopath in the Blank Space music video, mocking the idea that the GP & the media have of her).

○     But “crazy” is a term she often uses in her own songs as well,

   ■     Picture To Burn (Tell you friends I’m obsessive & crazy, that’s fine, I’ll tell mine that you’re gay),

   ■     I’m Only Me When I’m With You (You drive me crazy half of the time), etc

   ■     She uses it in the initial monologue in the I Knew You Were Trouble music video,

   ■     and she has a whole song called Crazier.

○     The whole “into it” escalation, on the other hand, seems like a young Harry trying to convince himself that this stunt won’t be this bad:

   ■     his managers were probably telling him how a good idea this would be, how his popularity would increase, he must have told himself that he would have survived this, that he’d have managed to appear into her,

   ■     only to realize that no, he wouldnt have been able to do this cause the whole stunt was getting insane, and that H*ylor was the worst thing ever (for both him & Louis), and that’s why he then proceeds to sing “I think I’m losing it”.

●     “I think she said ‘I’m having your baby, it’s not of your business’”.

○     Of course, this is a metaphor. this girl mentioned in this song sounds extremely bossy, and lowkey psycho, and that’s a great description for TS (her public persona, at least).

○     This is TS saying: “I want all the promo I can get, and I don’t care if you hate it. We signed a deal, so now shut your mouth cause I’m getting what I want.” She’s stubborn, she doesn’t think about him anymore, she just wants to help herself and, indeed, she has done that even way after the end of H*ylor, publicly shading Harry, and implying that great part of 1989 (& not only) was written about Harry (and by the way, there have also been rumours, back during H*ylor, that TS was indeed pregnant of Harry).

○    Harry might have also take inspiration from another stunt (*cough cough* b*abygate *cough cough*) for this particular line

●     “She sits beside me like a silhouette,
Hard candy dripping on me till my feet are wet
.”

○     These are the infamous lines that made people accusing Harry of encouraging pedophily (yikes). First of all, we definitely don’t think Harry was aware of the metaphorical meaning of “hard candy” (I had no idea either), and we actually think that “hard candy” is just the name of a drink, a very girly one btw, that for sure would fit TS’s sweetheart image, and of course it’d make sense since Harry sings that “it’s dripping on him till his feet are wet.” (And btw, there’s also a scene in the Blank Space mv where Taylor eats a hard candy & the camera focuses on her face).

●     “And now she’s all over me,

○     Well, she was quite literally all over him during H*ylor

○     and she made sure to stay all over him with all the songs she implied were about him.

●     “It’s like I paid for it, it’s like I paid for it, I’m gonna pay for it.

○     Harry here might refer initially to the whole stunt thing: their relationship is nothing but a fauxmance, it’s literally hiring someone to play his beard.

○     And then, he refers to when the realization of what was going on sank in: he was gonna pay the consequences for this stunt for a long, long time (in fact, he still is since media still ask him about her).

In conclusion, this song seems to us Harry’s reply at all the songs she implied were about him, at all the very obvious attempts of shading him she’s done through the years. But this song, this is not a Style 2.0, it’s not even another Perfect. This is extremely subtle, and one can get the reference only reading carefully into the lyrics. It’s Harry’s way to get back at her, but in a classy way (unlike hers), and by mocking Better Than Revenge, he’s basically saying: “Take this, Taylor. There is nothing I do better than revenge.”

  • *early morning*
  • Sherlock: *playing the violin*
  • Rosamund: *eating cereal; grimacing* Uncle Sherlock?
  • Sherlock: *concentrating* Mmm?
  • Rosamund: Are you in love?
  • Sherlock: *glances at her* Why do you ask?
  • Rosamund: *shrugs* you keep playing icky love songs and stuff.
  • Sherlock: *offended* I am not!
  • Rosamund: *raises an eyebrow* What was that called?
  • Sherlock: ...
  • Sherlock: *mutters* Ode to Joy *irritated* don't you have school?
  • Rosamund: *rolls her eyes; stands* Alright, alright, I'm going *picks up her bag; knocks on Sherlock's bedroom door* see you later, Aunt Molly.
  • Molly: *muffled* Yeah, g-goodbye, Rosie.
  • Sherlock: ...
  • Rosamund: *smug* Bye-bye, Uncle Sherlock *grins as she leaves the flat*

izzybabewoods  asked:

please deliver me ur malec + domesticity headcanons ily

okay but jay like, this is all i even think about anymore?? there’s no room left in my brain it’s just straight up fluff now. someone asks me a simple question and ends up waiting five minutes for an answer bc in my head it’s literally just 24/7 this shit like:

‘alec would hug his kids so much??? like imagine how touch starved that little boy must have been growning up in that hollow flourescent institute but then he grows up and meets the softest man on the planet and they build this happy full life and home together and literally any children they bring into that home would be so loved??? like demonstrably loved - hugs and encouragement and kisses on scraped knees with a softly murmured 'it’s okay to cry when something hurts’ like??? literally everything alec lightwood never had as a child he would give to his own in spades bc he has so much love to give he’s overflowing and i’m just. so???’

other indisputable domestic!malec Facts:

  • magnus is a house robe bi. like whenever they don’t have plans/aren’t expecting company, he is 100% wearing one of his (13,452) robes and it makes alec laugh so much because ?? they’re still nicer than literally anything he owns ?? like one day raphael or simon or someone comes by unexpectedly and magnus shouts through the door 'just give me a moment to get decent!’ and alec looks into the camera like he’s on the office
  • they fight about who gets to be the little spoon so much i’m embarassed for them tbh. sometimes they end up trading off multiple times in the same night even. but it goes without saying that if one of them has had a particularly rough day they get to be the little spoon that night. no questions asked
  • saturday brunch is sacred. they always sleep in late (well, at least they don’t leave the bedroom until late? who knows what they’re doing in there probably the crossword) and then walk down the street to a local cafe or pastry shop or wherever and just enjoy each other’s company. one time jace asks to come with and without missing a beat alec says, “brunch is gay dude, sorry” and jace just accepts that without question