Everything You Need to Know About Writing Successfully - in Ten Minutes
by Stephen King (reprinted in Sylvia K. Burack, ed. The Writer’s Handbook. Boston, MA: Writer, Inc., 1988: 3-9)
I. The First Introduction
THAT’S RIGHT. I know it sounds like an ad for some sleazy writers’ school, but I really am going to tell you everything you need to pursue a successful and financially rewarding career writing fiction, and I really am going to do it in ten minutes, which is exactly how long it took me to learn. It will actually take you twenty minutes or so to read this essay, however, because I have to tell you a story, and then I have to write a second introduction. But these, I argue, should not count in the ten minutes.
II. The Story, or, How Stephen King Learned to Write
When I was a sophomore in high school, I did a sophomoric thing which got me in a pot of fairly hot water, as sophomoric didoes often do. I wrote and published a small satiric newspaper called The Village Vomit. In this little paper I lampooned a number of teachers at Lisbon (Maine) High School, where I was under instruction. These were not very gentle lampoons; they ranged from the scatological to the downright cruel
Eventually, a copy of this little newspaper found its way into the hands of a faculty member, and since I had been unwise enough to put my name on it (a fault, some critics argue, of which I have still not been entirely cured), I was brought into the office. The sophisticated satirist had by that time reverted to what he really was: a fourteen-year-old kid who was shaking in his boots and wondering if he was going to get a suspension … what we called “a three-day vacation” in those dim days of 1964.
I wasn’t suspended. I was forced to make a number of apologies - they were warranted, but they still tasted like dog-dirt in my mouth - and spent a week in detention hall. And the guidance counselor arranged what he no doubt thought of as a more constructive channel for my talents. This was a job - contingent upon the editor’s approval - writing sports for the Lisbon Enterprise, a twelve-page weekly of the sort with which any small-town resident will be familiar. This editor was the man who taught me everything I know about writing in ten minutes. His name was John Gould - not the famed New England humorist or the novelist who wrote The Greenleaf Fires, but a relative of both, I believe.
He told me he needed a sports writer and we could “try each other out” if I wanted.
I told him I knew more about advanced algebra than I did sports.
Gould nodded and said, “You’ll learn.”
I said I would at least try to learn. Gould gave me a huge roll of yellow paper and promised me a wage of 1/2¢ per word. The first two pieces I wrote had to do with a high school basketball game in which a member of my school team broke the Lisbon High scoring record. One of these pieces was straight reportage. The second was a feature article.
I brought them to Gould the day after the game, so he’d have them for the paper, which came out Fridays. He read the straight piece, made two minor corrections, and spiked it. Then he started in on the feature piece with a large black pen and taught me all I ever needed to know about my craft. I wish I still had the piece - it deserves to be framed, editorial corrections and all - but I can remember pretty well how it looked when he had finished with it. Here’s an example:
(note: this is before the edit marks indicated on King’s original copy)
Last night, in the well-loved gymnasium of Lisbon High School, partisans and Jay Hills fans alike were stunned by an athletic performance unequaled in school history: Bob Ransom, known as “Bullet” Bob for both his size and accuracy, scored thirty-seven points. He did it with grace and speed … and he did it with an odd courtesy as well, committing only two personal fouls in his knight-like quest for a record which has eluded Lisbon thinclads since 1953….
(after edit marks)
Last night, in the Lisbon High School gymnasium, partisans and Jay Hills fans alike were stunned by an athletic performance unequaled in school history: Bob Ransom scored thirty-seven points. He did it with grace and speed … and he did it with an odd courtesy as well, committing only two personal fouls in his quest for a record which has eluded Lisbon’s basketball team since 1953….
When Gould finished marking up my copy in the manner I have indicated above, he looked up and must have seen something on my face. I think he must have thought it was horror, but it was not: it was revelation.
“I only took out the bad parts, you know,” he said. “Most of it’s pretty good.”
“I know,” I said, meaning both things: yes, most of it was good, and yes, he had only taken out the bad parts. “I won’t do it again.”
“If that’s true,” he said, “you’ll never have to work again. You can do this for a living.” Then he threw back his head and laughed.
And he was right; I am doing this for a living, and as long as I can keep on, I don’t expect ever to have to work again.
III. The Second Introduction
All of what follows has been said before. If you are interested enough in writing to be a purchaser of this magazine, you will have either heard or read all (or almost all) of it before. Thousands of writing courses are taught across the United States each year; seminars are convened; guest lecturers talk, then answer questions, then drink as many gin and tonics as their expense-fees will allow, and it all boils down to what follows.
I am going to tell you these things again because often people will only listen - really listen - to someone who makes a lot of money doing the thing he’s talking about. This is sad but true. And I told you the story above not to make myself sound like a character out of a Horatio Alger novel but to make a point: I saw, I listened, and I learned. Until that day in John Gould’s little office, I had been writing first drafts of stories which might run 2,500 words. The second drafts were apt to run 3,300 words. Following that day, my 2,500-word first drafts became 2,200-word second drafts. And two years after that, I sold the first one.
So here it is, with all the bark stripped off. It’ll take ten minutes to read, and you can apply it right away…if you listen.
IV. Everything You Need to Know About Writing Successfully
1. BE TALENTED This, of course, is the killer. What is talent? I can hear someone shouting, and here we are, ready to get into a discussion right up there with “what is the meaning of life?” for weighty pronouncements and total uselessness. For the purposes of the beginning writer, talent may as well be defined as eventual success - publication and money. If you wrote something for which someone sent you a check, if you cashed the check and it didn’t bounce, and if you then paid the light bill with the money, I consider you talented.
Now some of you are really hollering. Some of you are calling me one crass money-fixated creep. And some of you are calling me bad names. Are you calling Harold Robbins talented? someone in one of the Great English Departments of America is screeching. V.C. Andrews? Theodore Dreiser? Or what about you, you dyslexic moron?
Nonsense. Worse than nonsense, off the subject. We’re not talking about good or bad here. I’m interested in telling you how to get your stuff published, not in critical judgments of who’s good or bad. As a rule the critical judgments come after the check’s been spent, anyway. I have my own opinions, but most times I keep them to myself. People who are published steadily and are paid for what they are writing may be either saints or trollops, but they are clearly reaching a great many someones who want what they have. Ergo, they are communicating. Ergo, they are talented. The biggest part of writing successfully is being talented, and in the context of marketing, the only bad writer is one who doesn’t get paid. If you’re not talented, you won’t succeed. And if you’re not succeeding, you should know when to quit.
When is that? I don’t know. It’s different for each writer. Not after six rejection slips, certainly, nor after sixty. But after six hundred? Maybe. After six thousand? My friend, after six thousand pinks, it’s time you tried painting or computer programming.
Further, almost every aspiring writer knows when he is getting warmer - you start getting little jotted notes on your rejection slips, or personal letters…maybe a commiserating phone call. It’s lonely out there in the cold, but there are encouraging voices…unless there is nothing in your words which warrants encouragement. I think you owe it to yourself to skip as much of the self-illusion as possible. If your eyes are open, you’ll know which way to go…or when to turn back.
2. BE NEAT Type. Double-space. Use a nice heavy white paper, never that erasable onion-skin stuff. If you’ve marked up your manuscript a lot, do another draft.
3. BE SELF-CRITICAL If you haven’t marked up your manuscript a lot, you did a lazy job. Only God gets things right the first time. Don’t be a slob.
4. REMOVE EVERY EXTRANEOUS WORD You want to get up on a soapbox and preach? Fine. Get one and try your local park. You want to write for money? Get to the point. And if you remove all the excess garbage and discover you can’t find the point, tear up what you wrote and start all over again…or try something new.
5. NEVER LOOK AT A REFERENCE BOOK WHILE DOING A FIRST DRAFT You want to write a story? Fine. Put away your dictionary, your encyclopedias, your World Almanac, and your thesaurus. Better yet, throw your thesaurus into the wastebasket. The only things creepier than a thesaurus are those little paperbacks college students too lazy to read the assigned novels buy around exam time. Any word you have to hunt for in a thesaurus is the wrong word. There are no exceptions to this rule. You think you might have misspelled a word? O.K., so here is your choice: either look it up in the dictionary, thereby making sure you have it right - and breaking your train of thought and the writer’s trance in the bargain - or just spell it phonetically and correct it later. Why not? Did you think it was going to go somewhere? And if you need to know the largest city in Brazil and you find you don’t have it in your head, why not write in Miami, or Cleveland? You can check it…but later. When you sit down to write, write. Don’t do anything else except go to the bathroom, and only do that if it absolutely cannot be put off.
6. KNOW THE MARKETS Only a dimwit would send a story about giant vampire bats surrounding a high school to McCall’s. Only a dimwit would send a tender story about a mother and daughter making up their differences on Christmas Eve to Playboy…but people do it all the time. I’m not exaggerating; I have seen such stories in the slush piles of the actual magazines. If you write a good story, why send it out in an ignorant fashion? Would you send your kid out in a snowstorm dressed in Bermuda shorts and a tank top? If you like science fiction, read the magazines. If you want to write confession stories, read the magazines. And so on. It isn’t just a matter of knowing what’s right for the present story; you can begin to catch on, after awhile, to overall rhythms, editorial likes and dislikes, a magazine’s entire slant. Sometimes your reading can influence the next story, and create a sale.
7. WRITE TO ENTERTAIN Does this mean you can’t write “serious fiction”? It does not. Somewhere along the line pernicious critics have invested the American reading and writing public with the idea that entertaining fiction and serious ideas do not overlap. This would have surprised Charles Dickens, not to mention Jane Austen, John Steinbeck, William Faulkner, Bernard Malamud, and hundreds of others. But your serious ideas must always serve your story, not the other way around. I repeat: if you want to preach, get a soapbox.
8. ASK YOURSELF FREQUENTLY, AM I HAVING FUN?” The answer needn’t always be yes. But if it’s always no, it’s time for a new project or a new career.
9. HOW TO EVALUATE CRITICISM Show your piece to a number of people - ten, let us say. Listen carefully to what they tell you. Smile and nod a lot. Then review what was said very carefully. If your critics are all telling you the same thing about some facet of your story - a plot twist that doesn’t work, a character who rings false, stilted narrative, or half a dozen other possibles - change that facet. It doesn’t matter if you really liked that twist of that character; if a lot of people are telling you something is wrong with you piece, it is. If seven or eight of them are hitting on that same thing, I’d still suggest changing it. But if everyone - or even most everyone - is criticizing something different, you can safely disregard what all of them say.
10. OBSERVE ALL RULES FOR PROPER SUBMISSION Return postage, self-addressed envelope, all of that.
11. AN AGENT? FORGET IT. FOR NOW Agents get 10% of monies earned by their clients. 10% of nothing is nothing. Agents also have to pay the rent. Beginning writers do not contribute to that or any other necessity of life. Flog your stories around yourself. If you’ve done a novel, send around query letters to publishers, one by one, and follow up with sample chapters and/or the manuscript complete. And remember Stephen King’s First Rule of Writers and Agents, learned by bitter personal experience: You don’t need one until you’re making enough for someone to steal…and if you’re making that much, you’ll be able to take your pick of good agents.
12. IF IT’S BAD, KILL IT When it comes to people, mercy killing is against the law. When it comes to fiction, it is the law.
That’s everything you need to know. And if you listened, you can write everything and anything you want. Now I believe I will wish you a pleasant day and sign off.
ugh, something really crappy has happened, I kind of want to talk to someone about i--
if you mention this to anyone you're being attention-seeking and manipulative by trying to act like you have problems when you DON'T. you are a horrible person, and anyway if you DID have problems, you would deserve them because you deserve nothing but bad things, so SUFFER IN SILENCE.
Maybe Dark!Annabeth fighting a child of the big three and she knows that defeating them with physical, raw power isn't possible, so she attacks mentally. She defeats them with words, something Annabeth constantly does throughout the books to her enemies. Making them so angry, distracted, and/or sad that they lose focus and she easily takes the victory.
Annabeth feels him coming before she sees him.
There’s a charge in the air. A gathering static that threatens to strike with every movement she makes, but never quite gets the guts to do so.
That’s Jason Grace for you. Son of Jupiter, chosen of Juno, and just a touch too soft to do what needs to be done. Oh sure, he’ll kill monsters if he needs to, but when the monsters are gods, his solution is to become a priest.
It’s about finding a compromise, he’d said. And making sure that we’re heard.
Annabeth’s finding there are better ways of making noise.
“You got here faster than I expected,” she remarks as he touches down in front of her. She’s perched on the crumbling remnants of a wall that’s thousands of years old. Some small, distant part of her regrets what is about to happen here, but not enough to change course.
“Your pattern’s getting old,” he says. His gladius is out and he holds it warily between them. Annabeth keeps her drakonbone sword at her side. “The others can hold Percy off long enough for me to stop what you’re doing.”
She raises her eyebrows. “You’re the only one coming?”
He tries to hide his grimace, but that’s the danger with fighting your friends. They can read you too well, and a smile curls over Annabeth’s mouth at the confirmation. She hops off the wall, landing lightly on the dirt.
“What made you think I’d be at Pompeii?”
Lightning crackles in the sky overhead, raising the small hairs at the back of her neck. He nods at the scaffolding in the distance, empty of workers this early in the morning. It’s a grim dawn, about to get darker.
“No tourists today. You might’ve turned against the gods, Annabeth, but you’re not a murderer.”
Isn’t she? Annabeth has lost count of the number of monsters she’s put in the ground (under the ground). How many demigods died in the war with Kronos? They bleed red the same as mortals, and her hands are as stained as anyone’s.
So are Jason’s, and irritation pricks at her face. She smooths it away with a cool smile, carefully tracking him as he starts to circle her. She has a certain amount of faith in Jason’s willingness to ‘save’ his friends, but she’s not an idiot.
“So I should start picking locations with people if I don’t want you to interfere, is that what you’re saying?”
“That’s obviously not what I’m saying.” His gaze flickers over the ruins stretching behind her. “So this is all rigged to blow, huh?”
“Leo does good work.”
He winces. He can play on whatever friendship the two of them might have had all he likes, but that betrayal is the real knife in the guts and they both know it. Annabeth coerces her expression into concern, the cogs of her brain turning the right muscles to give it the realism it needs. She takes a half step forward, and Jason doesn’t step away.
“He misses you, you know.” Her voice is a soft thing. Caring. “Misses both of you.”
“If he misses us so bad, he should come and see us.”
“You really think we’re going to be welcome at Camp after all this?
“You haven’t killed anyone.”
The yet sits between us, and it doesn’t matter anyway. The gods would be more likely to forgive her if she had killed someone. They could have murdered thousands of mortals and not been struck down, if they’d just done it far away from the last vestiges of godly power in this world.
Gaea had plotted to bring down Mt Olympus, and that’s definitely on Annabeth’s list. But she’s always been a methodical sort of girl, and divine power runs deep. Best to stamp out all traces of it, one relic at a time.
She sighs. “We don’t plan to. You know that.”
“You’re trying to kill the gods!” Lightning cracks again, closer now. It takes more strength than Annabeth wants to admit to to avoid reaching for her weapon.
“And how many times have they tried to kill us? At best they don’t give a shit, Jason, you know that.”
But he’s shaking his head. They’ve had this fight before, all of them, enough times that she could probably just record it for him to save energy. He’s long since stopped listening to sense, and she doesn’t bother with more than a cursory attempt to convince him.
“You’re too late for this one,” she says. “I’m proud of you for getting here before it blows, but you were right. It’s ready to go.”
His grip shifts on his sword. And - there’s something in his expression that prompts her to brace for an attack, because it’s not defeat. This time, she thinks. This time might be the one where I push too far.
It’s sad, sort of, but relief swamps that soon enough. It’s not that she wants to fight old friends, but it would make everything a lot simpler. To just be able to fight, without caring what happens to them anymore. To draw battlelines instead of blurring them
“I don’t want to hurt you,” he growls. “But even if the rest of your team is ready to destroy this place, they’ll stop once you’re a hostage.”
Annabeth laughs. It’s a miscalculation, but she can’t help herself. “The others might. But hell itself couldn’t keep Percy Jackson from me, Jason, and you’re no Tartarus.”
“I can deal with Percy.”
He can’t. She wonders idly if he knows that. Everyone’s aware of Percy’s power these days, but that’s what he’s like with her at his side. Jason, she suspects, still has a little too much optimism left about what Percy’s self control would be like without her. What it would be like if he even thought she was in danger.
“Right, well, that’ll be your mistake to live with.” She squints up at the sky, trying to judge her next play. Being a hostage would accelerate certain things that she’s not ready to set into motion just yet. Most of all, she doesn’t think that Percy is quite as ready to fight the others as she is.
“You made a miscalculation,” she said finally. “You always want to go for the biggest player, Jason. It’s one of your biggest weaknesses.”
“You can’t talk your way out of this, Annabeth.” His body moves, and she can almost trace the lines in the air, the familiar forms he’s about to slide into. “You’re coming back to Camp wth me.”
He lifts his blade, wreathed in lightning. She smells ozone on the air, the threat of violence wafting in behind it. She clasps her hands behind her back, and lays down her hand.
“Where’s Piper, Jason?”
Everything stops. Nature itself holds its breath as those too-blue eyes widen in sheer panic, before narrowing at her.
“Piper’s your friend. You wouldn’t hurt her.”
Annabeth waits. She doesn’t need to say anything. The silence between them does it for her. The even sound of her breathing. The shroud of absolute confidence holding her shoulders straight.
You are not going to take me, her body says, like it’s all a foregone conclusion.
“She can handle herself,” he tries again, and there’s the edge of desperation that she’s been waiting for. Enough to cloud his thinking. He might not think she’s a murderer, but there are other atrocities. Things she hasn’t held back from in the opening numbers of this new war.
That’s a risk. Because they both know that Percy isn’t steady, isn’t stable, that his relationship with Piper had been tenuous at best and that without Annabeth there, his temper might just get away with him. Piper has her Charmspeak, but there are ways around everything if you have enough power.
It’s a risk, because Jason’s anger could always outweigh his fear. He could always take it out on her rather than fly off for Piper. Annabeth is confident in her ability to take him with a sword, but Jason comes with all those bonus add-ons that children of Athena just aren’t privy to.
So she gives him one last push. Just to make sure.
“Tartarus has so many doors,” she says softly. That same quiet concern from before, turned deadly now. “You know we found all of them, right Jason?”
He spits a curse, something in Latin about the gods and what he hopes they’ll do to her. She watches him leap into the sky, shading her eyes against the rising sun until he’s no more than a dot in the distance.
“You say that like they haven’t already done their worst,” she murmurs, before turning back to the ruins.
Happy Holidays, guys! With December wrapping up in just a few days, that means you’ve almost made it through 2017! Look at you go! There’s only a little bit left to do this year, including family time and, for lots of people, travel, which can be stressful.
December is filled with a lot of beauty, but it’s also filled with a lot of stress. Last minute gifts to get, family, and even the Christmas season can be terrible for a lot of people. If these sound like things you’re dealing with, then this hug is for you. If there is even more stressful things you’re dealing with that I didn’t list, then this list is definitely for you. Even if you just need something to get your mind off whatever is bothering you, this hug is for you. No matter how small you may think your troubles are, you deserve this hug. And, since I can’t afford the plane tickets or gallons of gas that I would need to reach all of you and hug all of you in person like I desperately wish I could, this is as close as I can get.
I hope this can help, because I still believe this is the best season of the year. Take some time for yourself and have a bit of fun, because there’s plenty of beautiful, magical things all around to entice your childlike wonder.
Would live for this. He would get off to hearing your moans
“Come on baby, moan for me some more,”
Boy would also love the FUCK outta your moans, he’s the type to quiet himself down just so he can hear every sound that escapes your lips
He’d tease the hell outta you. That’s all I gotta say,
“You sound so dirty kitten…”
He’d enjoy them quite a lot. He’d do everything he could to make you moan, simply because of how much the sound turns him on
“More babe…I know you can moan louder,”
He’d be super turnt. Boy would do what he could to have you screaming, and won’t stop UNTIL your screaming and begging for release
“Come on baby girl, scream for me…”
I can see him being loud in bed, but I also see him having a bit of a moan kink as well. So the louder you moan the louder he moans, and vice versa.
“Fuck baby, you feel so good…”
I feel like he’s pretty silent, so he’d bask in the sound of your moans and encourage you to moan louder
“Come on, I know you can be louder. Scream for me babe,”
Baby would initially blush upon hearing you moan for the first time. Not expecting such a lewd noise to come from your mouth, but after time goes on your moans would be his favourite sound
“Moan baby, come on. Let me hear your beautiful sounds,”
He’d be so turned on. Like…I have no words to explain it. 10/10 would listen to them if he could only listen to one noise for the rest of his life. But like…real talk, he’d indulge in most of your kinks/fantasies just so he could hear you moan
“You sound so sexy…let me hear more,”
Like Chanyeol, I can see him being shocked upon hearing your moans for the first time. But after some time, he’d love to make you draw out your moans because of how erotic it sounded
“That’s it baby…I need to hear more…Louder baby girl…”
Kai seems like the kinda guy to enjoy someone who is loud in bed. So he’d tease you for hours on end just to hear you moan loudly for him, calling his name and begging him to do something
“Uh oh…That wasn’t my name baby…You must really enjoy being punished don’t you?”
(I apologize for the low quality gif, but like…Yes please? Sign me the fuck uP SEHUN! WHOO!)
Anyways, Sehun seems like a dirty talker. That being said, he’d love to have you moan into his ear as he whispers all the lewd things he wanted to do to you.
“I wanna fuck you so bad baby…I want you cuffed…completely submissive to me,”
Ginny, listen... I can't be involved with you anymore. We've got to stop seeing each other. We can't be together.
It's for some stupid noble reason isn't it?
Not really. It's actually a pretty poncy reason. Well, pretty AND poncy to be exact. And snobbish. Oh, and annoying. So annoying! And manipulative. Infuriating. Witty. Talented. Handsome. Adorable. Vindictive. Petty. Feisty. Brilliant. Beautiful... I'm sorry, what were we talking about?
If Keith's Galra side is what makes him have this anger issues... How nice of a guy would he be if he was 100% human?
Actually–I don’t think Keith’s struggles with his emotions make him any less “nice.” If anything, I think he’s actually kinder because he’s hurting so much and still makes a conscious effort to try and control his temper and clearly regrets lashing out at others. Look at when he’s upset about Shiro’s disappearance–when he feels like Shiro left him and he know’s it’s not Shiro’s fault but he’s still so overwhelmed and says things he doesn’t mean. The reaction is immediate. As soon as he speaks, he looks devastated
During his paladin vlog, he apologizes multiple times for letting his anger get the better of him. “I am…sorry. I am so sorry I, I guess—I have a bit of a temper, so…“ During The Hunted, he also expresses remorse for giving in to his emotions:
I think it’s also worth examining why Keith’s temper usually flares up. The common denominator is usually either 1) innocent people are in trouble (most likely under the rule of a corrupt leader)
2) Shiro in particular is in trouble,
or 3) he’s grieving Shiro and his teammates don’t allow him that time to mourn or continue searching
Now, at the end of the vlog, Keith gets up and storms off. The only other time I could really think of where he actually gets up and leaves in a fit of anger on the spot is in Changing the Guard. All day he’s been tense and frustrated because no one else is willing to really acknowledge that Shiro is in serious trouble. “We don’t have Shiro either. Everyone seems to have forgotten that.” He feels like none of them cares about Shiro like he does, like they all just gave up on him and Keith is his only hope. And he can’t walk away from Shiro, not when he means so much. Anyway, what I’m getting here is–if in the vlog he storms off because he can’t hold back his tears anymore, does that mean he cried after this scene too?
Even the way he slams his hands on the table before taking off is a thing in both these scenes
So anyway, what I’m trying to say here is–Keith’s anger isn’t from malicious intent. Not really. It comes from pain, compassion, love–it’s what happens when he cares too much and someone tears his world out from under him. He’s not a bad person, and I certainly don’t think Keith is even an angry person. Being galra doesn’t make him “meaner” or more aggressive, it makes all his emotions more volatile and passionate. Which would also explain his singularly devoted loyalty and adoration for Shiro, his sense of chivalry, his intense fear of abandonment, and so on. His feelings are all his, they’re just focused to such an intensity that he has difficulty managing them. He gets overwhelmed, and he lashes out. He’s trying his best to cope and I wish the universe was kinder to him
all memery aside there really is a huge chunk of the cuckolding community that’s racist as shit. some men (certainly theyre the most vocal ones online) get off on seeing their wife “degraded” by a “savage” black guy while they watch helplessly, complete with extremely liberal use of the n-word and objectification of the black man in question by never referring to him as anything other than his dick. even if the bull explicitly consents to all of that, it’s not like the couple is taking his views into account and doing all that because it turns him on; rather, they were planning on doing that shit anyways and just happened to find someone okay with it
so yeah i dont really feel that bad for cucks and will continue mocking them, sorry erika moen
Dean’s vision begins fading somewhere around the sixth date. He tells Cas that he should get out now but Cas doesn’t budge.
He started losing his heart somewhere around the third.
Dean gets glasses. He hates them at first, always laughs and says he looks like a nerd. Cas adores them, loves to take them from Dean to clean the lenses before settling them back on his nose. He likes the way they go crooked on Dean’s face when he falls asleep on the couch, loves the sound they make when Dean sets them on the bedside table right before he turns out the light and kisses Cas goodnight.
The prescriptions steadily get stronger, buying them a little more time. In that time, they whisper their first “I love you”s, Cas moves in, and they travel. Cas takes Dean anywhere and everywhere, from the Atlantic Coast to the Pacific. They stop at the Grand Canyon, drive down to Mexico for a day.
When it seems that Dean’s vision will last the fall, they decide to go to Texas for Austin City Limits. They take a few days before Thanksgiving to drive up the east coast and visit some orchards, see a few lighthouses. They spend a night in Martha’s Vineyard and Dean complains about feeling like some uppity Hartford housewife but he holds Cas close that night as they sit on the beach and watch the stars.
It’s when they’re in Kansas for the holidays that Dean wakes up, puts on his glasses, and sees so difference. He shakes Cas away, starting to panic.
“Everything is still blurry, C-Cas. Why-why- it shouldn’t” His breathing becomes ragged and there are tears streaking down his face and Cas cups his chin, heart breaking in his chest as he tries to calm Dean down.
“It’s okay, baby. It’s going to be okay. Just breathe.”
Can I have a call boy smut with Taeyong? He’s your professor in Uni and you’re stressed so you want someone to help with that 😏 You call and ask for the one under the name “Taeyong” not thinking it would be him despite the same name? You’re both surprised, but he found you a sexy student so he does so anyways (really rough, and daddy kink?) Please and thank you 😊😊
Character: Taeyong (NCT) / gender neutral reader (*ignore the fem in the gif, I swear this is gn*) Word Count: 2989
Warning: well, smut of course. bad language, slight name calling, no condom, creampie, rough daddy kink, teacher/student kink, call boy?? can’t think of anything else :) enjoy!
these are some vigilante starters in the pov of city street people, categorized in the forms of negative, positive and neutral.
This is a job for the police, not a mutant monster.
Why doesn’t she/he let the police handle it!
He/she/they is always getting in the way of police work!
I don’t think we feel protected with a monster on the loose!
That’s no hero. That’s someone looking for attention. ❞
That is no hero! She/he needs to be behind the bars!
This superhero person just gets away with all these crimes!
I don’t like the idea of someone flying about the city.
Why haven’t they captured this person yet?
I think this ’ hero ’ ought to turn themselves in!
You aren’t no hero. You are just another criminal.
Who gave them the right to law into their own hands?
Why is the ’ hero ’ so privileged?
I’ve had enough of this city’s crazy vigilante!
I want justice to be brought and served to this masked person!
I can’t believe people actually think this is a hero.
Oh, so, we can take justice and law into our own hands now?
This ’ hero ’ is a bad influence on our children.
I don’t want my children looking up to some criminal!
This hero has proved that this city is going to fall to anarchy.
Whoever they are, they just need to go back to wherever they came from.
❝ I think they’re doing some good for our city. ❞ ❝ No offense, but, they’re doing a lot more than the police ever did. ❞ ❝ Yeah and that superhero has saved my life countless times! ❞ ❝ They’re not a criminal, the police like working with them. ❞ ❝ I’ll have you know the police would be lost without them. ❞ ❝ Hey, I kind of like this new superhero guy/girl. ❞ ❝ Our city needs this kind of hero, have you seen the criminals lately? ❞ ❝ I think what you’re doing here, superhero, is good. ❞ ❝ You only ever see the bad in anything, never the good. ❞ ❝ What do you likes o much about this vigilante anyways? ❞ ❝ They have saved a lot more lives than anyone else could of saved. ❞ ❝ So what? The police have an extra hand with things? It’s good! ❞ ❝ I used to never read the paper, until our superhero came along. ❞ ❝ I watch the news everyday just to the masked hero. ❞ ❝ You know, they saved my life once. Just remember that. ❞ ❝ What’s so bad about breaking minor crimes to stop someone? ❞ ❝ I’m not saying they aren’t at fault sometimes but they are good. ❞ ❝ This ’ hero ’ is the best thing to ever happen to this city! ❞ ❝ I’m kind of a fan of the hero flying about our city. ❞ ❝ I feel much safer walker the streets with our new hero at large. ❞ ❝ The day this city’s hero leaves, is the day I leave. ❞
❝ Anyways, have you seen/heard about our new profound hero? ❞ ❝ Why does he/she/they have to be all dressed up for anyway? ❞ ❝ I really like the suit they fly around in. It’s nice. ❞ ❝ So, is that tights your wearing or what is that? ❞ ❝ I just wanted to say, I’ve always wanted you to save my life. ❞ ❝ What’s this suit made of? Did you make this yourself? ❞ ❝ Hey, just throwing it out, if you ever need a sidekick one day.. ❞ ❝ Do me a favor and never save my life ever again! ❞ ❝ Don’t you have a life to be saving somewhere? ❞ ❝ What is that? What was that? Wait.. is that? A person? ❞ ❝ My city has a flying superhero or something, you’ll get used to that. ❞ ❝ You totally have a crush on that superhero person. ❞ ❝ This is kind of like a movie or something, isn’t it? ❞ ❝ Why is that superhero person hellbent on hiding their identity? ❞ ❝ Maybe that superhero kills people at night, like serial killer. ❞ ❝ Whenever I grow up, I want to be just her/him/they. ❞ ❝ Wait, wait.. I just wanted to ask.. could I have your autograph? ❞ ❝ How do you ever get used to living with a flying person in the city? ❞ ❝ Have you seen the news lately? That superhero is all over it. ❞ ❝ I want to follow the superhero, see where they go, find out who they are. ❞ ❝ Let’s go on a mission to discover who this masked helper is, yeah? ❞
Anonymous said: Thanks for your tutorials, they are so simple to understand even
for someone quite dumb about arts (me)! If you’ll have time and mood,
can you, please, create tutorial for making lineart. I’m fairy bad at
Thank you! That’s really great to hear that! :D If you browse my gallery you’ll notice that lineart isn’t something I use often (so that’s why I digged in my old drawings a bit to get some examples u_u) Anyway, I think there are more competent and skillful people out there whom you can ask about it but this is what I do. Just study other artists’ art, it’s helpful. Try to use different brushes and see what works best. Also things I think are important: ⁎ use bigger canvas (mistakes are less visible) ⁎ don’t use smal brushes with smooth but very defined edges because the lines will seem very jerky and ragged ⁎ vary thickness of your lines to make everything more dynamic but try to make it natural (it’s a little bit like calligraphy) ⁎ practice! lines will be smooth and flowy if you make your hand confident: - draw traditionaly - excercise with drawing straight lines and curves - make quick, long strokes instead of drawing short lines (they’ll look sketchy) or doing painfully precise, slow moves - don’t zoom in too much - turn off the stabiliser (at least sometimes)) (Aaaand… you can always use vector drawing tools as a last resort :))