sit down and play

4

Christian is the kind of actor that throws things at you, things that aren’t written in the scene that really end up helping you a lot. In the scene on the cliff where I’m crying, I didn’t even know that I was going to be crying that much in that scene, it just kind of happened in the first take. It was because of the help from Christian and how he was doing it with me. He cares so much and gives it so much passion. He hugs Clay at the end of that scene but that wasn’t written in the scene. Christian just did that and it’s those little things that he would do. At the end of episode 9 where I’m freaking out and kicking my bike and then I sit down and play tape 10, and he comes over and sits next to me — that wasn’t in the script either. He just does these things that end up taking these scenes to the next level and makes you care about their friendship so much more. - Dylan Minnette

rollingstone.com
Harry Styles: Singer Opens Up About Famous Flings, Honest New LP
One Direction's Harry Styles goes deep on love, family and his heartfelt new solo debut in our revealing feature.

January 2016. There’s a bench at the top of Primrose Hill, in London, that looks out over the skyline of the city. If you’d passed by it one winter night, you might have seen him sitting there. A lanky guy in a wool hat, overcoat and jogging pants, hands thrust deep into his pockets. Harry Styles had a lot on his mind. He had spent five years as the buoyant fan favorite in One Direction; now, an uncertain future stretched out in front of him. The band had announced an indefinite hiatus. The white noise of adulation was gone, replaced by the hushed sound of the city below.

The fame visited upon Harry Styles in his years with One D was a special kind of mania. With a self-effacing smile, a hint of darkness and the hair invariably described as “tousled,” he became a canvas onto which millions of fans pitched their hopes and dreams. Hell, when he pulled over to the side of the 101 freeway in L.A. and discreetly threw up, the spot became a fan shrine. It’s said the puke was even sold on eBay like pieces of the Berlin Wall. Paul McCartney has interviewed him. Then there was the unauthorized fan-fiction series featuring a punky, sexed-up version of “Harry Styles.” A billion readers followed his virtual exploits. (“Didn’t read it,” comments the nonfiction Styles, “but I hope he gets more than me.”)

But at the height of One D–mania, Styles took a step back. For many, 2016 was a year of lost musical heroes and a toxic new world order. For Styles, it was a search for a new identity that began on that bench overlooking London. What would a solo Harry Styles sound like? A plan came into focus. A song cycle about women and relationships. Ten songs. More of a rock sound. A bold single-color cover to match the working title: Pink. (He quotes the Clash’s Paul Simonon: “Pink is the only true rock & roll colour.”) Many of the details would change over the coming year – including the title, which would end up as Harry Styles – but one word stuck in his head.

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anonymous asked:

hey, can you break down the differences between the adventure zone and critical role for me? i haven't listened to either and now i'm curious

Oh gosh, okay. They’re delightful but… very different approaches to the same general idea (broadcasting a D&D game), and I think the fans of one show tend to have a sort of skewed impression of the other show, so here’s my thinking.

Just the basics, to begin with: The Adventure Zone started running in late 2014, and it’s an audio-only podcast in which the McElroy brothers and their dad start a brand-new D&D campaign from scratch. Critical Role started running in early 2015, and it’s a video podcast in which a bunch of best-friend voice actors started filming the D&D campaign they’d already been playing for years at home with the same characters. TAZ is (generally) prerecorded and lightly edited down, CR is 100% live. Both have a lot of howlingly funny and surprisingly touching moments, both get a lot more intense the more you get into them, and both are good shows that are a Good Time, especially when they make you feel things you didn’t sign up for. The main canon of TAZ is currently 56 one-hour-long episodes, with new episodes every two weeks, and CR is currently 85 four-hour-long episodes, with new episodes every week. Most of the reason for CR’s absurd length comes down to (a) three times as many players, and (b) no editing.

The DMs both put a ton of work into the world, but they also have very different approaches. Griffin (TAZ) is DMing for the first time, while Matt (CR) has talked about how DMing D&D games for the past 20 years is what got him interested in acting in the first place. The world of TAZ is much more of a sci-fi/fantasy hybrid, while CR sticks more to traditional fantasy.

TAZ plays fast and loose with the rules, which can be both a delight and a frustration for storytelling reasons—for instance, until the latest arc both spell slots and HP were not really tracked, which means (a) Griffin has had to come up with incredibly creative ways of introducing risk and limitations to the game, and (b) those incredibly creative ways can start to get pretty damn brutal. The mechanics of the game feel like an imposition on the story, most of the time—it’s rare that you get a dice roll that makes a huge difference to the plot (but when you do, as in the most recent episode, it’s pretty darn cool). As a result, the biggest spanner in the works of Griffin’s plans tends to be in the form of out-of-the-box thinking from his players, which they excel at; I think there is a tendency to railroad the plot as a result, but it’s a good story and it’s well worth a little bit of elbowing to keep everyone on track. Magical items also play a huge role, with viewers of the show submitting awesome new trinkets for the heroes of the story to use/abuse/completely forget about.

Because CR tilts more towards the rulebook (although Matt gets more than his fair share of shit for homebrewing and letting things slide and defaulting to the Rule of Cool), chance plays a much bigger role in the story. Matt’s simultaneously battling some incredibly creative players and dice that seem determined to roll as dramatically as possible. Entire subplots have been wiped out by a strategic roll, and in order to be able to adapt to that on the fly, Matt has to be hyper-prepared and have a lot of possible branching points. It’s absurdly open-world, especially now that the characters have the ability to travel instantly through different planes of existence, and Matt keeps pace with a story that feels more character-led than DM-led; railroading is practically nonexistent, which means you get incredible plot developments and super-deep characterization… but it also sometimes leads to long circular conversations trying to figure out what to do next. Because the players are all actors, there’s also a lot more that’s just straight-up improv theater: it’s not unusual (especially lately) to go for verrrry long stretches of riveting conversation without anybody rolling dice (I can think of a moment where Matt could’ve just had everyone fail a charisma saving throw against an NPC but instead just straight-up charmed them all in real life with words).

I’ll put it this way: CR is a basketball pickup game between friends who’ve been playing together so long that they kind of have their own home rules going and stick to them. TAZ is out there playing fuckin’ Calvinball. Both are great fun, but if you go into one expecting the other you’re in for a bad time.

Both shows have a lot of great NPCs, although Critical Role’s format gives them a lot more time and depth to shine (there are episodes where an NPC will have as much or more “screen time” than some of the player characters). Both shows have LGBT representation among player characters and NPCs alike that, while not perfect, is generally improving as the show goes on. For me personally, one of the more frustrating things about going from CR to TAZ was going from three female player characters and a metric fuckton of extremely deep characterization for all the female NPCs to no female player characters and many great and memorable female NPCs who nevertheless don’t get too much screentime or development just because of the the structure of the show.

TAZ is pretty shaky throughout the first arc (Griffin’s fighting a bit of an uphill battle getting everyone to sit down and actually play the game, which is funny in and of itself), but things slowly start to come together and the real potential of the show becomes clear once they break the heck out of the 5e Starter Set. I think the “Murder on the Rockport Limited” arc is what started to pull me in, and it’s not until the latest arc that I’m starting to get the character development I really crave in that show. Critical Role also takes a little while to find its footing, and to me the Briarwood arc (starting around episode 24) is where the mood of the show starts to solidify, with episode 40 and beyond really pushing from “this is cool, I’m enjoying how these interpretations of fantasy tropes are sometimes kinda unusual and off-the-wall!” to “how is this the most honest and genuine character development I’ve ever seen in media what the heck is happening here”.

So yeah. TAZ isn’t total chaos with no plot or effort put into it, CR isn’t a humorless wasteland of mathematical minutiae and rigid formulaic approaches. Both shows are great fun, both are IMO in an upswing and getting better and better as they go along, and I heartily recommend them both if you know what you’re getting into. Have fun!

Swings

Person A is sitting on a park bench next to a playground with some kids playing.

A random mom sits down next to person a and smiles

Random mom turns to person A-“so which one is yours?”

Person A opens their mouth to tell her but is interrupted

Person B- “Babe look how high I’m swinging! ”

Person A smiles -“that dork on the swing”

just great comet things
  • Having a cast member go up to your section of the seats to explain that you’re not quite seeing a normal show so keep your legs close
  • Natasha seeing Andrey off to the war at the very beginning, before the prologue, looking really heartbroken to see him leave
  • Andrey leaving through The Door™
  • Marya dissing the whole audience as ‘gossips and crybabies’
  • Mary making a random audience guy climb onstage to present to her father as a suitor
  • Snow falling over Andrey reading a letter as Natasha sings during No One Else
  • Gelsey Bell doing the opera screeching and wailing
  • Everyone being on stage most of the time, watching what’s going on and reacting
  • Everyone taking the events of the opera really seriously and then Andrey pops back onstage while ensemble members pull drapes of blood out of him
  • The chemistry between Anatole and Natasha
  • The strobe lights during the club that make you feel like you’re inside a stop motion
  • The costumes becoming bdsm gear and neon for everyone but Anatole, Helene, Pierre and Dolokhov (yes that means Grace McLean in spandex leather doing inappropriate gestures with a whip)
  • Having an ensemble member scream at you to read war and peace over blaring music
  • Pierre forcibly inducing your midlife crisis during Dust and Ashes but it’s okay because he’s having one too
  • Natasha just standing on stage in her underwear for most of Charming
  • The consequent onstage costume change
  • Having a cast member casually walk by at some point and wondering how this show even exists
  • Natasha and Anatole sealing their fate by dramatically walking through The Door™ hand in hand as dramatic strings play 
  • Anatole sitting down and shutting the whole thing down just so he can flirt with someone in the audience for an obnoxious amount of time
  • The Door™ opening with angry red lights to reveal Marya as she screams ‘you will not enter mY HOUse scoundrelll”
  • Natasha pacing all over the stage during Pierre and Anatole and preparing the poison/drinking it then freaking out about what she’s done while the men argue (and then Sonya helping her off the stage)
  • Natasha Very Ill to The Great Comet of 1812 cleansing your soul and putting the whole theatre at peace
  • Feeling like you’re somehow walking in the snow on some russian road with Pierre during the finale
  • All of the characters standing up and gazing at the comet like they all believe it holds the key to their redemption and new beginnings
  • The overall performance adding so many nuances to the story that you leave the theatre confused because what you took for granted about the characters isn’t so solid anymore
a florida holiday headcanon of sorts

dan, phil, martyn, cornelia and mr and mrs lester sit down to play a boardgame one evening in florida because boardgames have always been an essential part of the lester holiday tradition

phil automatically reaches for the dice to go first because that’s just how it’s always been, but his dad stops him and asks “what makes you think you’re starting the game?” which confuses phil and he’s like “what do you mean? i’ve always gone first”

and then his dad picks up the dice and goes “that’s because the youngest participant always goes first, but you’re no longer the youngest member of the family” and hands the dice over to dan with a smile and a nod, and it’s such a simple gesture but it makes dan feel a sense of belonging that warms his entire being and he swears he has never been happier than he is at this exact moment; in a house miles away from home, playing boardgames with his family.

Things I Do At Concert Pits:

• Talk to literally everyone. Like if you’re next to me we will become besties. sorry
• Point out cool cosplays and people with awesome outfits
• Scream. Not sing the lyrics loudly. I will scream when the singer seems. Dude trust me it’s hella relaxing you let out all your stress there and leave it behind.
• Dance badly

CRY

• Kinda sit down before the band plays because honey my back fucking hurts
• Shout out “You saved my life” to the people on stage. Don’t you dare get mad at me for doing it because I’m a broke bitch and will never be able to meet them one on one
• When the concert ends imma hug you randomly. idgaf if you’ve never met me before we’re huggin. c’mere :)

•  DID I MENTION CRYING

• I AM SO SORRY THAT I AM OF AVERAGE HEIGHT AND I FEEL PERSONALLY GUILTY FOR MY HEIGHT AND I WILL HELP ALL THE SURROUNDING SMOLS AS BEST AS I CAN
• If you elbow me and you don’t say sorry and you clearly hear me you’re gonna catch these hands
• Steal my spot and I will fucking cut you
• I pull off my long sleeved shirts so I’m not hiding my cuts. This is the only place I feel accepted for all of me so YOU’RE GONNA SEE EM ACCIDENTALLY
• If I end up next to someone who only knows one or two popular songs on the radio I will be mad. sorry. oh wait. im not sorry. u bitch.
• If you just stand and record the whole thing without even smiling at your chance at seeing the people on stage I WILL JUDGE YOU.

• CRYING IS LIKELY

• Shout genuine compliments to the band members like “I love you” “You’re amazing” “Your beanie looks nice”
• I WILL KILL YOU IF YOU ARE “SAVING A SEAT FOR YOUR DAUGHTER” AND THEN NOT LEAVE WHEN SHE GETS THERE
• If you lie about your dad being in the front to be closer imma punch u
• I WILL HUG YOU IF YOU ARE ALSO CRYING BECAUSE I KNOW HOW YOU FEEL

THIS IS MY ONLY CHANCE TO BE MYSELF PLEASE JUST LET ME CRY GODDAMNIT

bad | 06

He was the cliché bad boy. He was the guy you couldn’t stand. He was the handsome, hot kid who made girls go weak in the knees. He was a brat. You had never liked him one bit, but you had also never gotten involved with anything concerning him. Until one day, when you were in the wrong place, at the wrong time.

Originally posted by jjks

MEMBER: jeon jungkook x reader (ft. kim taehyung)

GENRE: future smut, romance, fluff, angst(?), badboy!au

WORDS: 5 125

WARNINGS: mature themes, language

| 01 | 02 | 03 | 04 | 05 | 06 | 07coming soon ↠ 

A/N: here IT IS! for all you children who are waiting for smut, do not worry, I know. just be patient ;) remember, everything happens for a reason. don’t kill me for this.

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La Dolce Vita.

Genre: Smut. And some fluff too. 

Summary: When your best friend decides to screw you over with the werewolf boy you absolutely hate during your heat~ 

Pairing: Reader [Werewolf AU!] x Jeon fucking Jungkook [Werewolf AU!]

Word Count: 6.9k-ish

Dedicated to my sweet strawberry jelly, @nomoreghostie-anon, Happy Birthday, sunshine!! I hope you like this trash writing of mine ahahah :) 

Also tagging @writeiolite who read this like a billion months ago and loved it, your encouragement always makes me beyond happy!!

Originally posted by theking-or-thekid

“Unnie,” you whined, tugging on the end of Jiyoon’s dress, “Don’t go!”

Your heat was supposed to start in a few days and initially you had planned to chain yourself in your room and let her take care of you through it. However her unexpected business trip ruined all your plans. She sighed, turning around to look at you in a mix of understanding and seriousness as she sat you by the edge of the bed.

“Look, ___ I don’t have a choice. If I don’t attend this meeting, they’ll fire me.” She groaned, rubbing the sides of your arm, “But it’ll be okay, you’ve been through this before.”

“Yeah, but I had a boyfriend to help me out then,” you whined, looking at her with pleading eyes. “This is the first time I’ll have to go through it alone.”

“Well, you don’t have to if you don’t want to,” your eyebrows quirked up at her words and you looked at her in curiosity, urging her to go on. “Look, there are other werewolves in my boyfriend’s pack, you know they can help you.”

You groaned in annoyance, knowing full well about Hoseok’s pack and the members, not forgetting to mention their weird habits, but there was no way you were going to let any of them get close to you, especially not Jungkook. Not when you were in heat.

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Of all decks

Context: My mother played a rogue back in the first edition and her group was some of the most hard core players.

R: I’m bored of this fight. I’m gonna pick pocket the wizard.

DM: Okay, you pickpocket a Deck of Many Things.

R: I sit down and start playing solitaire.

Group: Why do these monsters keep just appearing? [DM] why have you forsaken us? 

DM: Look man, this ain’t me.

[LYRICS] Gajah (코끼리 (Elephant)) Feat. Rap Monster by Gaeko

Korean

무기력한 하루 해치운 다음
맥주병 뚜껑을 똑 따
술 취한 세상은 느려 보여도
시간은 정직하게 똑딱
전쟁터같은 사회 안에서
내 시선 타깃없는 스나이퍼
당황스럽고 식은땀 나
왜 난 하염없이 목표만을 찾나

정보공급과잉 공급공급 과잉에
머릿속은 흡사 흡연실
잡생각과 갖가지 욕망들이
담배 뻐끔 뻐끔 연기 피워대니
내 안에 불씨가 꺼지는 걸
알아채지 못했다니까 후후불어
다시 후후불어
어디에든 존재하지 호불호

누군 큰 그림을 보라지만
큰 그림들이 주는 뜬구름들이
나의 정밀했던 표현과
세계를 난도질하려 해여
나의 열정이 행여
돈이 덜 된 거라도
그게 실수라고 말하지마
난 내 길을 갈거라고

너도 망설이지 말고
그냥 하고 싶은 거 해
사람 일이 말야 당장
내일도 말야
어찌될지 모르니까 그냥
코끼리스텝 끼리끼리스텝
끼리 스텝으로 가야지
코끼리스텝 끼리끼리스텝
끼리 스텝으로 가야지

인생은 그냥 그냥 Come thru
We ain’t never ever want to
다 강제발탁된 선수
You don’t choose life
chose you
세상은 컬러인 척하는 모노야
Cuz everything so grey
밤은 나일강보다도 훨씬 길고
우리의 슬픔은 애매해

복잡한 이 세상 딱 하나 분명한 건
삶에 떠밀린 너와 내 상태
운명이란 놈은 우리 값어칠 매기고
평생 고독을 강매해
세상과의 불협화음 유난히 잦다면
우린 까만 건반 같은 것
확실한 건 너 역시 피아노의 일부
가만히 앉아서 흑건을 쳐줘

Think about it
별이 될 건가 불가사리 될 건가
No disrespect for starfish
But if you want a fish, be selfish
오늘 아침 거울을 봤다면
뭔 생각했는지 잘 생각해봐
그리고 다시 보고 말해
너는 너를 위해 싸워
너는 너를 위해 날을 세워

너도 망설이지 말고
그냥 하고 싶은 거 해
사람 일이 말야 당장
내일도 말야
어찌될지 모르니까 그냥
코끼리스텝 끼리끼리스텝
끼리 스텝으로 가야지
코끼리스텝 끼리끼리스텝
끼리 스텝으로 가야지

뿌뿌뿌뿌뿌이 뿌뿌뿌뿌이
뿌뿌뿌뿌뿌이 뿌뿌뿌뿌이
그냥 코끼리스텝 끼리끼리스텝
끼리 스텝으로 가야지
코끼리스텝 끼리끼리스텝
끼리 스텝으로 가야지

성공에도 그림자가 있고
실패에도 있지 빛
유명세는 삶을 CCTV로 감시하고
몇 글자로 우릴 반죽해버린 다음
아웅다웅하다 폐기처분한 다음
시치미를 뚝 떼
난 휘둘리지 않고 쭉 해
난 기억해

내 잔고가 0원이었을 때
밤새 얘기했지
영원한 것에 관해
스티비 원더 마빈 게이
유재하 혹은 이문세가
내게 준 것들에 리스펙트
나도 누군가의 삶에 BGM으로
우연히 스며들기를 원해
그때를 기억하네
DT의 난 널 원해

생각 길지 않고 깊게 원해
행동은 담대하고 쉽게 원해
실패보다 더 실례해야 될 건
이거야 Self disrespect myself
내성적인 내게
네트워크 강요하지 마라
내 성적은 내가 관리하게 놔둬
어련히 알아서
Make it work 새겨들어 너

English

After defeating an exhausting day
I pop off the cap of a beer bottle
Even if the drunk world seems to slow down
Time tick-tocks with honesty
In a society that is like a battlefield
I am a sniper with no target in my sight
I panic and break into a cold sweat
Why am I absentmindedly searching only for a target

From the information and supplies that overstock
The inside of my head is similar to a smoking room
Miscellaneous thoughts and various desires
Continuously puff their cigarettes
I didn’t realize the embers
Dying inside me so I blow on them
Again I blow on them
Likes and dislikes exist anywhere

Some say to look at the big picture,
But the floating clouds that show me the big picture
Want to cut down my world
And my precise expressions
Even if what I’m passionate about
May bring me less money
Don’t tell me that it’s a mistake
I’ll go down my own path

You shouldn’t hesitate either
Just do what you want
The thing is, when it comes to people’s days,
No one knows what’ll happen in the present
Or tomorrow so just
Elephant step phant phant step
You should go with phant steps
Elephant step phant phant step
You should go with phant steps

Life just, just Comes thru
We ain’t never ever want to
Everyone’s an involuntary player
You don’t choose life
Chose you
The world is monochrome pretending to be colourful
Cuz everything so grey
The night is much longer than the Nile River
Our sadness is a grey area

There’s only one thing certain about this complicated world
That your state and mine are washed up by life
A thing like fate decides our value
It’s always pressuring us to buy loneliness
If you’re often in dissonance with the world
We’re like the black piano keys
What’s certain is that you’re only part of a piano
Please sit down and play the black keys

Think about it
Will you become a star or a starfish
No disrespect for starfish
But if you want a fish, be selfish
If you looked into the mirror this morning
Think hard on what you thought about
And then look and tell yourself again
You fight for yourself
You raise me up for yourself

You shouldn’t hesitate either
Just do what you want
The thing is, when it comes to people’s days,
No one knows what’ll happen in the present
Or tomorrow so just
Elephant step phant phant step
You should go with phant steps
Elephant step phant phant step
You should go with phant steps

Bbubbububbui bbubbubbui
Bbubbububbui bbubbubbui
Just elephant step phant phant step
You should go with phant steps
Elephant step phant phant step
You should go with phant steps

Even success has a shadow
There’s also light in failure
The price of fame is monitoring life from a CCTV camera
After kneading us with a few words,
After quarrelling and then throwing it away,
They feign ignorance
I won’t be swayed, I’ll just keep on going
I remember

When my balance was ₩0
I would say this at night
The thing regarding forever
Stevie Wonder, Marvin Gaye
Yoon Jaeha, or Lee Moonse
Respect for the things they gave me
I also want to coincidentally infiltrate
Someone’s life through BGM
I remember that time
The DT me wants you

I want thoughts to be deep but not long
I want actions to be daring but easy
The thing that’s more disrespectful than failure
Is this self disrespect myself
For my introverted self
Don’t shove networks down my throat
Just leave my records to me
I’ll make it work myself
You, listen closely

Trans cr; Jessie & Scarlett @ bts-trans
© TAKE OUT WITH FULL CREDITS

Heal My Wounds

Peter has a massive crush on the reader but can’t help but wonder why she always covers her hands with gloves. 

author’s note: heyo just small hint the reader has a metal arm yeet this is like the fifth time i’m rewriting this so here goes nothing (i still don’t know how i feel about this it’s quite bad tbh) shout out to @toms-spidey for helping me out with this big time and literally being the only reason i’m posting this ily girly.

word count: 1.6k

warnings: kinda angsty and fluffy at the same time….?

Peter had been crushing on you for god knows how long. You were in a few of his classes and every once in a while he would look over at you a smile placed on his lips as you tugged lose strands of hair that would occasionally fall in front of your face back behind your ear.

He couldn’t help but notice one thing, you always had gloves on. No matter what the weather was, hot or cold you always had the same brown fabric covering your hands.

Flash had teased you about it multiple times and it pissed Peter off. No one deserved Flash’s unnecessary comments least of all you, the girl who barely spoke, not even when spoken to.

On multiple occasions Peter had tried to talk to you but you always managed to slip right past him acting as if you had no idea he wanted to talk, although it was fairly obvious.

And now as he sat in his usual seat his head resting in the palm of his hand he couldn’t help but admire you as you squinted your eyes slightly, concentrating on the papers sprawled out in front of you, your tongue poking out of the corners of your pink lips.

Ned nudged Peter bringing him out of his daze as he diverted his attention back to his best friend who was now giving him a judge mental look as his eyes wandered to who Peter had been staring at.

“Just go talk to her, your not so subtle staring is probably starting to freak her out” Ned sighed his elbow resting on the table in front of him, Peter scoffed his gaze finally meeting Ned’s.

“Don’t you think i’ve tried!? Every time i get as much as this close to her” Peter says squeezing his index finger and thumb together so they were almost touching “she runs off”.

“So don’t let her” Ned states matter of factly patting Peter on the back as he ushered him towards you, completely ignoring the quite protests leaving Peter’s mouth as they neared you with every step.


“Hey Y/N” a voice brings you out of your thoughts as you spit the pen out that you had previously tugged between the corners of your mouth, a awkward smile reaching the corners of your lips as you mumbled a quite ‘yeah’.

“Peter here wants to talk to you about something” Ned smiled, forcefully pushing Peter onto the stool next to you before he walked off a proud smile on his lips.

“What did you want to tell me?” you asked breaking the awkward silence that had settled between the two of you as soon as Ned left. “I um-well just wanted to uh see if you may-maybe wanted to I don’t know hang out sometime or something like that” Peter stammered a blush rising on his cheeks as he looked down at his lap slamming his eyes shut inwardly cringing at how awkward he was.

You were baffled, you couldn’t believe Peter Parker had just asked you to hang out, you a girl who wore gloves to hide what you hoped no one would discover. So as you were about to reject the offer, you looked back up at him and his hopeful beautiful brown eyes stared back into yours and you couldn’t bring yourself to do it.

“Sure, Peter I would love too” you smiled going to place your arm on his shoulder but quickly pulled back realizing he would definitely feel what was not a flesh arm.

His wide eyes once again met yours and he looked like he was about to burst from happiness and you couldn’t help but giggle as he fumbled to get back up from the seat next you trying his best to act casual as he reached into his pocket so he could hand you his phone. 

But you reacted quickly telling him it was better if you called him knowing well enough you would have to take your gloves off in order for you to be able to type your phone number into the small phone he had placed in the palm of his hand.

“How about we just hang out after school, study date?” you asked hoping he would put the phone back into his pocket, and thankfully he did sending you a warm smile as he nodded walking back to his seat where he plopped down next to Ned.


Finally the school bell rung signaling that school was over and you happily stuffed all your stuff into your backpack before you slung it over your shoulder following the crowds of students that were exiting the classroom.

You were ready to get home and sit down on your couch with your favorite ice cream whilst Friends played in the background, but you then remembered your study date with Peter groaning at the fact you wouldn’t be getting these damn gloves off anytime soon.

You made your way toward Peter’s locker where you saw him clumsily stuffing his books into it—your heart almost melting at the sight, you quickly made your way towards him picking up the books that had fallen out of his tight grasp.

“Thank you” he awkwardly laughed scratching the back of his neck as he finally managed to slam his locker shut, the noise emanating off of the now empty school hallways. “It’s no problem, so your place or mine?” you asked as you walked side by side thankful that your left arm was brushing against his and not your right one.

“We can go to mine since Aunt May’s not going to be home anytime soon” you nodded and sent him a warm smile, you lived alone so a parent coming home early and yelling at you for being alone with a boy really wasn’t a problem, but Peter didn’t need to know that.


As soon as you had arrived at Peter’s small apartment he shared with his aunt, you followed him into his room where he nervously asked you to sit down on his bed and wait whilst he went and got you two some snacks.

You happily obliged sitting down on the bottom bunk your backpack resting in your lap as you pulled some of your books out of it and placed them on the nightstand that was next to you.

You heard clattering coming from the kitchen and took this as your chance to finally let your left hand breath for the first time that day. You sighed as you pulled the brown glove of your flesh hand, your palms were extremely sweaty and you made sure you could still hear Peter in the kitchen before you removed the glove of your right one.

A heavy sigh yet again left your mouth as you rubbed your hands together, your cold metal hand met your flesh one sending shivers down your spine at the unsuspected coldness.

Zoning out for a bit you completely missed when Peter stepped into the doorframe and quickly backed away when he saw why you always wore those same brown gloves.

Peter’s POV

Peter was struggling to make his way up the stairs as he tried to keep every single thing he was carrying still, the glasses he had filled with water were spilling everywhere at his clumsy excuse of walking and he couldn’t help but let out a satisfied groan when he reached the top of the stairs.

He smiled adjusting himself a bit before he walked into his room. But he stopped dead in his tracks when he saw what rested beneath the surface of your glove.

You hadn’t heard or seen him walk into the room so he quickly and quietly sprinted back down the stairs the water now completely abandoning the two glasses that rested on the top of his palm.

He laid every single snack he had carried up the stairs back onto the counter top as he reached for his phone that was placed in the back of his pocket quickly unlocking and dialing Tony’s number.

Tony picked up on the fourth ring and immediately starting scolding Peter for calling him since he told him he could only do that if it was an absolute emergency.

“This is an emergency Tony!” Peter panicked running his fingers through his brown locks as he started pacing around the kitchen making sure you hadn’t come down the stairs.

“You remember the airport fight right!?” Peter asked his grip on the phone becoming tighter with every word he spoke “yeah I don’t think I’m going to forget that anytime soon kid” Tony sighed “And you remember that dude with the metal arm right!?” 

“What’s your point here Peter?” Tony asked his brows pulling in as Peter continued speaking “well I’m with this girl right now her names Y/N, and I-I went down to get us some snacks since we were going to study but then I came back up and she-she had taken her gloves off… She has these gloves that she always wears—anyways! she has a metal arm Tony, a metal arm! And it’s exactly like Bucky’s”

Peter’s eyes went wide as he realized he had begun to raise his voice significantly during the last part of his sentence and he quickly looked around making sure you were nowhere insight.

“Do you think you could find a way to bring her to the tower?” Tony questioned and Peter nodded before realizing Tony couldn’t see him and he frantically mumbled a yes before hanging up the phone and climbing back up the stairs into his room.

“Hey I hope you don’t mind but-” Peter stopped abruptly realizing you were nowhere insight “Y/N?” he asked slowly walking into his room were he saw the previously closed window was now wide open and all of your stuff was gone

“Shit” he cursed knowing you had obviously heard his conversation with Tony and climbed out the window. What was he going to do now?

Next Part

If you want to be tagged in this embarrassment that I call a fic hmu in my ask and i’ll gladly add you to it <3 (this is so shitty i could cry)

Saw Great Comet yesterday (7-30-17), and I just wanted to share some of my experience with you guys! I was sitting in the rear mezz, which I highly recommend!

*I'mma skip over a lot of the main details just because they’ve already been covered, but I’ll try to include things that were particular to this show/not often talked about.

“Prologue”

• There’s a little vignette right before the show starts where Andrey is leaving for war, and it begins with Natasha screaming the most heartbreaking no you’ve ever heard in ur life.
• When Oak came out, there was thunderous applause. Like, it went on for at least a full minute. I was so happy.
• Also, hearing that first accordion note reduced me to tears bc I’m sensitive™.

“Pierre”

• So lemme talk about Oak’s voice real quick. Someone noted that it’s this perfect blend between Groban’s smoothness and Malloy’s roughness, and I have to wholeheartedly agree. It’s absolutely beautiful. He’s a beautiful Pierre.
• Also, he plays Pierre with a lot of melancholy. It’s almost as though he’s always on the verge of tears.
• “He’s charming; he has no sex.” While the ladies are skipping around him, Hélène is conducting them, and it’s hilarious.
• “I pity you. I pity me. I pity you.” — Oak sings these lines so gutturally. His agony echoes off the very walls of the Imperial.
• “Pierre” received a long applause as well.

“Moscow”

• GRACE MCLEAN DESERVED TO BE NOMINATED FOR A TONY AWARD!1! HOLY CRAP. HER VOCALS BRING THE HOUSE DOWN!!!!!!!
• The moment she belts her first lines, you know exactly what kind of personality Marya D. has, and that’s a tribute to her actress. Srsly.
• During the song, Marya will sometimes act maternally to Sonya, but the moment Natasha comes back into sight, she’ll roughly push Sonya away, and it’s hilarious.
• Natasha’s humming is absolutely heartbreaking. It’s one of the many moments in the musical when you realize how young she is.

“The Private and Intimate Life of the House”

• There were understudies for both Mary and Bolkonsky/Andrey, Courtney Bassett and Ken Clark respectively. They were wonderful. Ken’s performance especially stood out to me.
• “People enjoy me, though…” Before he sang these lines, he held eye contact with a person across from him for, like, five seconds, and it was incredibly funny. (Same goes for him patting his wig and powder flying into the air.)
• “BRING ME MY SLIPPERS! YES, FATHER. YES, FATHER. BRING ME MY WIIIIIIIIIIIIINE.”
• The audience interaction in this one is A+. Mary’s suitor and Bolkonsky’s cheap French thing draw huge laughs from the crowd.
• “They are there upon his head.” I’ve seen a few posts where people lament that the audience laughs at this line, but I truly think it’s supposed to be laughed at. Mary is kind of coy when she says it, like she’s laughing at it herself. After that, though, her mood dips, slowly sinking into this utterly palpable reproach.
• The audience was completely silent.
• While she’s singing her final lines, Bolkonsky is slowly making his way back to his chair, and your heart shatters as you watch. He’s clutching his back and using the railing for support. When he finally collapses in his chair, he kinda puts his head in his hands.

“Natasha and the Bolkonskys”

• Towards the beginning of the song, Natasha and Mary hoist chairs over their heads and join a table of people on stage. It’s hilarious. They really milk the awkwardness of the moment.
• “Constrained and strained” is so frickin’ good. When Courtney and Denée sing it, it’s really low and creepy.
• “Says the mean, old man in his underthings” drew huge laughs, especially bc of Bolkonsky’s hand movements. He kept gesturing towards his entire body.

“No One Else”

• Honest to God, I could write essays on how perfect Denée Benton and her performance of this song is. She emotes so beautifully. Her voice, her movements, her facial expressions all come together to create Natasha, a young, lost girl who wants nothing more than to see Andrey again.
• I cried (obviously).
• The blue light is absolutely gorgeous in this song. (The blue light is meant to be the moon.)
• At one point, Andrey shows up, and snow begins to lightly fall on him. He reads one of Natasha’s letters, brings it to his lips tenderly before walking away, and just behind him, almost able to reach him, is Natasha, her face the perfect picture of despair.
Denée Benton.
• The applause after this song was long and well-deserved.

“The Opera”

• Just for the record, songs like this one, “The Duel”, and “The Abduction"—where all of the cast members are out—are absolutely electric. The energy is incredible.
• “The opera, the opera…” Marya D. belts these lines so loudly, lololol.
• On one side, you can spot Heath Saunders as one of the opera goers, and lemme just tell you guys, that long, black coat suits him.
• “Hélène and Dolokhov arm-in-arm…” They aren’t so much arm-in-arm as they are passionately making out on stage. Omg. I love them.
• “Noooo, I’m enjoying myself this evening.” Pierre pumps his fist and smiles this absolutely giddy smile.
• When Marya sees that Natasha is talking to Hèlène, she runs up and pushes Nat behind her.
• To indicate that the “curtain rises,” some of the light bulbs retract. It’s a cool effect.
• I know the literal opera part of the song sounds incredibly weird on the recording, but in person, it’s more hilarious than you’d think. The actors are doing ridiculous things and making animalistic noises, lol.
• When it’s over, the spotlight turns to Natasha and Sonya. Sonya’s asleep, lolololololol.
• Right before Anatole comes in and around the time Natasha begins to “pass into a state of intoxication”, she hallucinates Andrey being injured during the war. The two circle each other around Pierre’s salon, simply gazing into each other’s eyes, and it’s intense.
• Anatole’s entrance is frickin’ ridiculous and amazing all at once.
• You know those measured beats at the beginning of his introduction? During each of those, he sharply turns his head in a new direction, ostensibly to show off his head.
• Also, his walk is literally a swagger.
• Either in this scene or during “Natasha and Anatole”, he caught a lady unaware and kissed her on the cheek. She jumped so badly, lolololol.

“Natasha and Anatole”

• During the intro of the song, Anatole checks himself out in a mirror before posing himself perfectly for the moment Natasha turns around to see him.
• Also, let’s talk about Lucas Steele for a hot minute. He is Anatole Kuragin, from his almost exotic voice to the way he walks. Out of the cast, I’d say that Steele is the one who plays the crowd the best.
• Throughout this number, Anatole and Natasha play the roles of pursuer and the pursued. Natasha tries so hard not to be wrapped under his spell. :(
• When he takes the flower off her head, Natasha makes a perfect :O face. I love Denée Benton.
• “And kiss me on the neck.” He does manage to get this kiss, and it’s really rough-looking.
• “How do you like Moscow?” Lolololololololol.
• For the most part, the two are roving around the stage (mostly bc Natasha is running away from Anatole), but at the end, they sit down next to each other, and it’s played as a really significant moment.

“The Duel”

• “The Duel” is epic live. Holy freakin’ crap.
• The moment Dolokhov, Pierre, and Anatole clink their glasses together, the strobe lights come on and the real party begins. There’s intensely sexual dancing, half-naked people, and glow sticks everywhere.
• Y'all, I saw Marya D., in a skin tight, black costume no less, whip several people with a riding crop with my own two eyes.
• Also, in the very back of the rear mezz, there was, like, a threesome going on.
• The energy during this song was absolutely nuts.
• Sonya’s party outfit is so cute. It’s an almost innocent looking dress, and she’s wearing bright sunglasses.
• The ensemble echoing back “corpulence” is really frickin’ funny.
• Nick Choksi really highlights the psychopathic part of Dolokhov, especially in the “Here’s to the health of married women” sequence. His movements are jubilant but also shark-like. He and Hélène make out for a loooooong time.

“Dust and Ashes”

• Oak’s “Dust and Ashes” is an absolute privilege to hear, and if you have the chance, I would go and listen to it while you can. His voice could have shaken the entire foundation of the theater.
• While he’s singing, the entire cast lines up in the rear mezz to provide backup vocals, and it’s incredibly poignant. (Also, tho, Lucas Steele stood in front of me, and I died.)
• “Don’t let me die while I’m like this…” During these lines, Oak starts crying, and it guts you.
• There was a two minute applause for “Dust and Ashes”, and I was on the verge of crying just bc he was getting such a huge applause.
• Oak is perfect, okay?

“Sunday Morning” / “Charming”

• “Everyone sees a man!” Ingrid delivers this line so well. It got a huge laugh.
• AHHHHHHHHH, now here’s a symbolic moment for you. When Natasha says that she can see a shape in the darkness as she’s looking into the mirror, Pierre is standing up right behind her. Pierre is her future.
• (The moment Nat leaves, he sits back down.)
• Amber Gray can slay me, tbh. “Charming” is everything I could have ever asked for.
• When she walks in, the lights are bright behind her, and her hood is over her head, effectively masking her identity. It’s a really neat moment.
• The lights dim when she takes off her hood.
• Natasha is in her undergarments throughout the song until Hélène gives her her cloak. (Btw, Natasha looks gr8 in said cloak.)
• At some point, Natasha starts mimicking Hélène’s movements, and it’s adorable but also a really nice character touch. Same goes for Hélène snatching Andrey’s necklace off of Nat’s neck and exchanging it for her own pearls.

“The Ball”

• This number was enchanting. I had a hard time focusing on the main stage bc the dancers in the rear mezz. were so mesmerizing in their movements.
• Also, tho, the ensemble dancers mimicked what Anatole and Natasha were dancing at times.
• When Natasha tries to run away from Anatole, he pursues her up the steps and forces their first kisses. She’s surprised at first, but gives into it with abandon a few seconds later. The kiss lasts a very long time.
• At the end of “The Ball”, Natasha and Anatole run through the doors together and then turn to face the audience. They’re holding hands. The lights are bright behind them.

“Letters”

• “Letters” is such a frickin’ jam, y'all.
• When it starts, the cast members spill out of the double doors singing.
• At the beginning of “Letters”, just as Pierre is addressing Andrey, Andrey appears at the top of the stairs. Pierre faces him.
• “I see nothing but the candles in the mirror.” For one of the very few times in the play, Natasha and Pierre face each other.
• The geometric symmetry in the choreography is really wonderful all around. For instance, at one point, Mary, Natasha, and Pierre are all positioned in a triangle, taking turns facing one another.
• Anatole’s love letter was an absolute showstopper. People were whistling, clapping, and screaming when he started holding those really long notes. Holy crap @ Lucas Steele!!!!!

“Sonya and Natasha” / “Sonya Alone”

• “Sonya and Natasha” is intense. I was on the edge of my seat for their fighting.
• “I’m soooooooooooooo happy, and sooooooooooo frightened.” Kill it, Denée!!!! (When she’s singing about her happiness, her arms are extended widely, and when she’s singing about being frightened, she withdraws into herself.)
• “I have no will. My life is his.” During these lines, Natasha is wrapped around an increasingly agonized Sonya.
• “Sonya Alone” is one of the most powerful numbers in the show, and you really don’t recognize it until you see it live.
• The theater is almost completely dark with the exception of a spotlight on Sonya. Throughout the entirety of the song, Natasha is ambling about, tightly clutching Anatole’s letter.
• Sonya never takes her eyes off of Natasha, and your heart can’t help but ache for both of them.
• Ingrid Michaelson is truly a wonderful Sonya—maybe not as sure as Brittain but she definitely doesn’t lack heart.
• On the first “I will protect your name and your heart”, Natasha stumbles on a stair, staggered by the weight of her friend’s words. Then, she walks to the opposite side of the stage, only to be completely stopped by Sonya’s, “I know you’ve forgotten me.”
• For the rest of the song, Natasha is still, her head inclined towards Sonya.

“Preparations” / “Balaga”

• When Pierre greets Anatole at the beginning of this number, it’s almost as though he’s caught Anatole out. Anatole had been trying to sneak past unnoticed.
• Anatole shaves in front of a mirror during “Preparations”, lol. At one point, he turns to the crowd with shaving cream still on his face.
• Dolokhov sings his arguments at Anatole very fiercely during this song, even more so than he does in the recording.
• I looooooooooooove “Balaga”. It’s such a wild performance. Paul Pinto moves with such agility and manic energy. The ensemble hands out the egg shakers during this one.

“The Abduction”

• “THE ABDUCTION” IS SO GOOOD. HOLY CRAPPP.
• Anatole singing “WHOOOOA” while swinging his green jacket cleared my skin, watered my crops, and cured my depression.
• The whole theater is absolutely alive with commotion. There’s a dance off between a guy in the rear mezz and a guy on stage that’s frickin’ amazing.
• People are doing backflips.
• Natasha smashes a painting on Balaga’s head.
• Marya and Hélène are making out.
• Pierre is doing a cute jig.
• It’s beautiful, beautiful chaos.
• When Pierre screams his “WHOA” part, everyone collapses on the floor, absolutely exhausted, and then, then, the most wonderful thing happens.
• Pierre giggles.
• “Hee-hee-hee.”
• God, I love Oak.
• “Wait, wait. First we have to sit down.” Anatole made room for himself next to a girl, which was hecking funny, but what was even funnier was that the girl leaned her head on Anatole’s shoulder. The whole theater dissolved in laughter. Anatole held the quiet for a comedically long period before getting up, and when he did, he kissed the girl on the cheek. It was really cute.
• When Marya entered at the end of the song, surrounded by this harsh, red light, there were audible gasps in the audience. People weren’t expecting her, lol.

“In My House”

• GRACE MCLEAN DESERVED A TONY NOMINATION: PART TWO.
• She acted her butt out through this entire song. I’m serious.
• Her voice is dangerously quiet until, “YOU LISTEN TO ME WHEN I SPEAK TO YOU. YOU LISTEN TO ME WHEN I SPEAK TO YOU.”
• The tension in the room was palpable.
• Also, all of the yelling you hear on the recording? It’s so much more intense live. It’s fierce enough to make you flinch.
• “Don’t touch me!” At one point when Natasha screamed this, she physically pushed Marya away, and Marya wasn’t angry so much as she was stunned.
• “Natasha’s whole body shook with noiseless, convulsive sobs.” She was literally bent over, grasping the railing like she couldn’t breathe.
• “And she threw herself down on the sofa.” Natasha stands erect with her arms crossed and her head buried in them. The spotlights focus on her, and that’s when Marya softens.
• You can see the fight leave Grace McLean’s body. Her voice is incredibly tender.

“A Call to Pierre” / “Find Anatole”

• GRACE MCLEAN DESERVED A TONY NOMINATION: PART THREE.
• Her face is absolutely devastated as she’s talking to Pierre. Like, I still have chills thinking about it.
• Also, Pierre is waking up from a nap at the beginning of this number, lol.
• “I have been… studying.” He glances quickly at the place he had been napping.
• The sheer power in Oak’s voice really comes out in these next songs. Anger and fear simmers behind the way he sings. A+++
• At the beginning of “Find Anatole”, he truly sounds out of breath. His body is fully bent over for a couple of seconds.
• “He can’t be married!” The absolute horror in Denée’s voice nearly slaughters you, tbh.
• When Pierre discovers Anatole and Hélène and gets mad, they start to run away.
• Pierre is livid when he finds Anatole and Hélène. I mean, livid.

“Pierre and Anatole” / “Natasha Very Ill”

• Pierre nearly throttling Anatole is a sight™.
• “Amuse yourself with women like my wife!” The spotlight shines on Hélène as she stands up and bristles indignantly. What an amazing character touch.
• During that long pause before Pierre apologizes to Anatole, Natasha walks right between the two and drinks the arsenic. A few moments later, it begins taking effect, and she starts screaming. It’s a terrible, convincing sound. She runs off stage. Marya and Sonya follow her.
• “FOR PETERSBUUUUUUUUUUUUUUUUUUURG!” :’)))
• There was a pause between “Pierre and Anatole” and “Natasha Very Ill” while we all wildly applauded that C#. Holy crap @ Lucas Steele!!!!!!!!!!!!
• “Natasha Very Ill” is sad. Everyone is devastated, especially Sonya and Marya.

“Pierre and Andrey”

• Ken Clark is an amazing Andrey. He has a v. human approach to the prince.
• When Pierre and Andrey are trading insults, there’s a lot of affection between them. It’s really as though the two haven’t seen each other in quite awhile.
• Andrey’s somewhat tender tone continues until he asks Pierre to confirm whether the rumors he had heard were true, and when Pierre replies in the affirmative, that is the very moment when Andrey assumes his colder exterior.
• It frickin’ breaks your heart.
• #PoorAndrey
• “If you wish to be my friend, never speak of that again.” During “If you wish to be my friend,” Andrey’s voice breaks seemingly on the edge of tears, and then it hardens at the end as he jabs a finger in Pierre’s chest. The moment he does so, though, he immediately looks horrified. Did I really just threaten my friend?
• “Well, goodbye” is soft.
• #PoorAndrey
• CRAP. I FORGOT THE WORST PART OF THIS SONG. Behind Andrey and Pierre, Natasha and Sonya are standing in a darkened corner. Whenever Andrey refers to Natasha, she flinches and buries herself into Sonya.
• :(

“Pierre and Natasha” / “The Great Comet of 1812”

• “Pierre and Natasha” broke me.
• At the beginning of the song, Natasha slowly makes her way down the staircase, entirely dependent on the railing to get down. It tears at your heart. You can’t help but remember how lovely and vibrant she had been at the beginning of the play.
• The nightgown she’s in makes her look so small, and with her braided hair, she looks just like a little girl.
• Oak emotes his lyrics so tenderly, so gently in this one. His voice is always on the verge of breaking.
• “She began to cry…” Yeah, no. She sobbed, and you sobbed with her. Her whole body was shaking. She had to hold on to the rail.
• An interesting tidbit: Hélène is sitting right behind Natasha, and she has her head in her hands like she’s reacting to the sadness of this scene, too.
• “All over…” At this point, Natasha is walking back up the staircase, and the theater is absolutely silent. You could have heard a pin drop. Oak says the written line to her back.
• I’ll never forget the way Oak delivered it, and I will never want to either.
• His voice simply broke on “if I were free”.
• Pierre turns away from her, and then she turns towards him, slowly making her way back to him.
• During her last lines, Natasha touches his cheek, and it is sincerely one of the most beautiful moments of this very beautiful play.
• “The Great Comet of 1812” was moving, too.
• The theater very much looked like a beautiful night sky. The comet prop was stunning, too.
• Pierre sat down at the end of the song and gazed reverentially up at the comet.

This play was one of the most beautiful experiences of my life, and I recommend it with all of my heart and soul. Please, please support it if you can.

Anon asked: “I get all these plot ideas in my head, but I really struggle with writing them down in words, to sit down and actually write, partly because I usually think too much whenever I try to write (like how the grammar is and how it sounds etc) and I always think it all sounds so slow and boring when I write my ideas down… which leads me to just “write” the story in my head instead of actually writing it :/. Do you’ve any advice on how to stop doing that? Because it’s really frustrating!”
 

Originally a question for It’s a Writer Thing, but it was decided that answering it on this blog would be better for the less technical answer and the more actionable answer!

This answer will cover two reasons why my suggestion works, and one alternative if you don’t like the first piece of advice.

-       You Need to Stop Caring So Much

Your main problem is you’re overthinking things, which is natural, because you want this scene to be perfect. As perfect as it was in your head, and every moment it doesn’t do that, you become more frustrated and your creativity is more stifled.

Those grammar and word choices worries aren’t about grammar or word choice – it’s your mind battling with the cosmic issue of scientists not getting off their butts and creating a device that projects thoughts onto paper yet. There’s nothing wrong with your writing. You have created an impeccable scene in your head, and the more impeccable it is, the more dissatisfied you’ll be with writing it.

-       So, the solution:

Drink wine. No, seriously. Carve out an evening to yourself, put on some music that inspires you to write or that serves as the background music of a scene you want, get a glass of wine (or three), and sit down.

Drink the first glass of wine.

Play the music and start brainstorming the scene. Let it play out in your head. Let yourself get a little crazy in the details because you’re not writing yet, you’re brainstorming.

If you smoke, have a cigarette, and start on the second glass of wine.

Now start writing.

-       Why This Works

Wine takes the edge off. Stronger alcohol can work too, because it’s called liquid courage for a reason. It makes you stop CARING so much if it’s perfect, so that your mind can relax enough to actually write the scene as good as it can be. If you drink too much, then you’ll have problems with the keys, so know your own limit and drink just until you just have that nice buzz that makes you not so upset if this draft turns out less than satisfactory.

Trust me, when you look at it later, it will be 80% better than you thought it’d be.

-       The Sectioned Off Evening Itself Does Wonders

Knowing that you are just messing around with the scene for the next few hours – that it doesn’t have to be perfect; that it doesn’t have to be really anything, since you’re just having an enjoyable writing session – will take half the edge off.

You’re not here to do miracles – you’re here to chill out with a nice glass of wine and enjoy yourself! Even if you just brainstorm it in your head and write down notes to fill out later, that’s for later! You accomplished something. Good for you.

-      If You Don’t Drink

That’s fine. I’m not telling anyone to start drinking if they don’t like it, or encouraging alcoholics to fall off the bandwagon for the sake of a scene. … unless it’s a really good scene.

I jest.

The key is to chill out. So whatever makes you relax, calm down, and cast off the more anxious side of yourself, do it.

If you smoke, have a cigarette. Or five.

If you like a warm bath, get a notebook and try your best to keep it dry, or if you have nerves of steel, take your chances with the laptop.

If chocolate eases your nerves, get a bag of Hersey’s Kisses and go for it.

Just remember that you have to not only kill that usual tension that life brings, but you have to go one step further to make your inner critic decide to quiet down for the night.

-       To Wrap Around

The key is to calm down. Then calm down some more. Calm down clear to the point where your “give a damn” function is disabled for the night. You can accomplish some pretty amazing things when you don’t care so much. Then the scene at least has words on it – and you can always work with a bad scene, but never a nonexistent scene.

Hope this helps!

Hatred (Wonho X Reader)

Admin: Candi
Request: “Hello! could i request a smut where you and wonho hate each other? – anon”
Fandom: Monsta X
Member/reader: Wonho x Reader
Genre/warning(s):  smut, humiliation, strong language, dom!Wonho (VERY DOM), choking, scratching, blood, ok let’s just say extremely hardcore sex so it’ll be easier??? (trigger warning) 
Words: 4k (not even sorry)
Authors note: Just a heads up, this is really rough. I’m hella proud of this and I hope you enjoy this. I adore writing Wonho smut BUT I ALSO WANNA WRITE FLUFF BECAUSE HE DESERVES ALL THE LOVE. But yes, this is hella intense so like just a warning so you won’t die? Or get offended. Basically rough sex, nowhere near vanilla so if that’s what you’re expecting this is exactly NOT it. I’m not even sorry at how dirty this is.

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