suspended disbelief

anonymous asked:

They wanted Malia to be a part of the group and her attending elementary wouldn't accomplish that so they put her in HS. It's stupid af but I get that pov. But, it's one thing to have her in remedial HS classes or having the pack tutor her, and another to have her in fricken pre-calc. And not only is she in the class, but manages to pass it. Like, no. That shit is hard for people who've been in school their entire lives, and she missed 9 years of education. That's where you completely lose me.

I just sent in an ask about Malia in HS/pre-calc and wanted to add to it. They never needed to show us what classes she was in. ‘Cause if they wanted us to suspend our disbelief with her being in HS, maybe don’t put/show her in the same class as the two geniuses, y'know? So if they’re not gonna show her in remedial classes/tutoring then all they needed to show us was her walking to/from class, getting books out of her locker, reading, taking notes, etc.

Yeah, I get their reasons for putting her there. I just don’t agree with them. It shows such a lack of creative problem solving on their parts, you know? And such a… clumsy disregard for their own material. The fact that they would put the character in a situation they know she could never be in, just because they like the idea of her being there, and are totally ok with it making no sense? I mean… if you create a character with a nine year old’s education, you have to treat her like she’s a character with a nine year old’s education. That simple. Do that, find a way to make that work, or you lose the respect of your viewers.

If I wrote a story, for example, and set up a situation where the only way for Stiles to save the pack would be for him to literally jump fifty feet in the air and push a red button, I can’t just say “ok, so then Stiles takes a big jump and hits the button! The end.” And that’s what they’re doing here. They just decided that they wanted Malia to jump into a situation that was feet, yards, miles above her head and instead of even vaguely trying to explain how she got there, they just let her leap and expected us to shrug and accept it.

And it’s ridiculous, because there were so many other ways for her to bond with the pack. Have Lydia become her tutor, like i said. Then with Scott helping her train and control her wolf (…coyote, whatever) she’d spend basically every afternoon with the pack. Derek was a part of the group, more or less (i guess “less” in Jeff’s eyes but w/e) and he wasn’t in school. And how many plot points require the characters to be at school anyway? Bring her into conversations by having her wait for the characters in the parking lot after school, or hang around the edge of the lacrosse field in coyote form (”NO that’s not safe, everyone’s not just gonna think you’re a dog, just sit in the bleachers like a normal person before you get yourself shot.”

And if it was necessary for her to be in school for a scene, introduce the idea of her just wandering the hallways or even dropping in at the back of classrooms because she’s bored. After all, what else does she have to do all day? It would be a cute call out to the school’s terrible security (remember Derek wandering the halls with blood dripping down his arm in s1 and no one cared?) And teachers who were in the know, like Mr Yukimura or Lydia’s mom, would just sort of smile and let her sit in on the class. Meanwhile, she’d become a constant thorn in Finstock’s side. He’d never notice her at first and then halfway through class she’d make some idle comment about his teaching methods (”Lydia’s much better than you, maybe she should be teaching the lesson”) or just the topic at hand. And he’d get all frustrated and throw her out (“where the hell did this kid even come from?”) And it would have been fun. And so easy. Like, all this was just off the top of my head. She could have been included in so many ways that would make so much more sense and… ugh. It’s infuriating. They infuriate me.

Not to mention, her time while the others were at school would have been a perfect opportunity to have plots with her adoptive father (which were honestly really necessary after the way she was introduced, and it makes no sense that he was basically a non-character after that) and for her to bond with Derek. Her cousin. Who’s lost most of this family and would have held onto a newly discovered cousin with everything he had. Instead we got… nothing. Did they even know they were related in canon? I don’t think so.

*sigh* I just totally ranted right over your comments, anon, I’m sorry. And it would have absolutely been an improvement if they’d kept her in high school but put her in remedial classes. I’d almost be able to believe that, I think. But there would still be so many ways to include her and integrate her into the group without sticking her in high school.

One of my favorite phrases my Creative Writing professor had for when you’re writing fantasy is ‘giving your story a Flux Capacitor’.

Because it’s not real, it doesn’t exist. But the way it’s thrown into Back to the Future, at no point does it throw the audience off or suspend any more disbelief than time travel would. You believe Doc when he says he created the Flux Capacitor - the thing that makes time travel possible, because the universe never questions him. 

So it essentially means like, there are going to be elements to your universe that are just not gonna make any sense, even if you set up a whole system based on it. And the only way to make it work is completely own it. You cannot second-guess your system or else the reader will too. You can give it the strangest explanation, but write it like you own it.  

masterofenthropy  asked:

Hi HeyWriters! I was wondering: do you have a tip to create a weak point on main characters? I´m making a story, but I´m having trouble since my main character is TOO overpowered. Could you help me with this?

(All of this is written under the assumption your character has superpowers or “special” abilities, so forgive me if you meant a different kind of power.)

I created a character concept when I was twelve. She had all the superpowers of my favorite heroes and then some. As time wore on she gained more and more until eventually my adolescent brain invented logic and realized she was actually ridiculous. Here’s how I depowered this character, who’s name is Ace, without completely ruining her coolness.

Step One:

Don’t be greedy. Any ability that does not contribute to the story needs to go. It’s taking up space that could be filled with credibility. I decided early on that Ace didn’t need most of her abilities, and by the end of the story she only relies on a few to get the job done. Also, if a character can do more than one thing that are all basically the same thing some of those should probably go (invisibility and camouflage, superspeed and teleportation, etc.). 

Step Two:

Apply real-world science. If you try to make your depiction realistic, you’ll want to have an idea of how these abilities might work and how they might not. Of course, you should suspend disbelief for some things if they’re truly essential to your character, but others can be adapted. For Ace there are some powers that only work under the right circumstances, and others that her body rejects or that give her physical pain when she uses them. Most importantly, special strengths come with special weaknesses. Sensitive hearing means loud noises are more jarring or harmful, regeneration means metabolism speeds up and the person needs to eat as much as a body builder. Any superpower you pick out will have a drawback, I guarantee it; if not a physical one then a social one (I’ll get to that).

This scene from The Incredibles is an excellent demonstration of superpower drawbacks.

Step Three: 

Consider how the character feels about all this power and why they obtained it in the first place. Ace was not born with abilities, but over time she chose certain powers for the purpose of defending herself or others. Some of her powers fade away when she stops using them, like any skill you fail to practice, and some abilities she just plain old refuses to use for personal reasons. Some are too difficult or time-consuming for her to master, and some even trigger memories of her traumatic past thus she discards them. This way she has a choice in the matter and her choice is not to bite off more than she can chew or what she doesn’t want in the first place. 

Step Four:

How do other characters feel about all this power? Perhaps some or all of your character’s powers intimidate, frighten, or anger others in the story. One of Ace’s friends dislikes how unstoppable she is, and others are taken aback by some of the things she can do or how she looks when she does them. On the whole, she hides what she can do or picks small things to do instead of big things, downplaying her own power when necessary. How your supporting characters react to the force of nature that is your MC is the most important aspect of her power.

Here’s an example from the X-Men of how other characters might react. 

For additional opinions and advice, read this https://mythcreants.com/blog/five-characters-that-are-too-powerful/ and take to heart its ending line: “There’s only one fix that avoids all the pitfalls of overpowered heroes: refrain from making them really powerful in the first place.”

Yes, Ace is a flawed concept and all the advice I just gave is only a patch kit for that flaw. However, overpowered characters continue to excite readers and viewers alike, so I would never suggest we dispense with them altogether. Just, when you’re getting a headache from how overwhelming your character is, it’s good to consider dialling it all back and focusing on the power of their personality instead.

—————————————————-

Super apologize for taking so long to respond, and thanks for asking in the first place.

Book review: Norse Mythology by Neil Gaiman

He has sipped the mead of poetry, conversed with Mimir, and cavorted with norns. There are no other rational explanations, because otherwise Neil Gaiman might actually - secretly - be a god himself, and I can only suspend my disbelief so far.

It isn’t difficult to argue that Norse myth is easy to present as a continuous story. Much of that reputation is the fault of Snorri Sturluson, the Icelandic poet and politician, who committed a selection of stories (known as sagas) to paper and codified what we now collectively refer to as the Nordic mythos. Retellings of these sagas are rare - you’re more likely to find translations of Sturluson’s work - and it is for that reason that this book is so special.

Gaiman brings his wit and strong character writing, as well as his unashamed love of the mysterious, to an enormously entertaining retelling of his favourite mythological universe. I should mention now: this mythos happens to by my favourite, too - so I’m perhaps, maybe, possibly 100% biased in favour of this book from the very beginning. Speaking of the beginning, that’s precisely where we start: a vibrant, expansive and imagery-rich opening sequence covering the life and death of the giant Ymir and the formation of the nine worlds.

From such lofty heights of literary prose one would, probably, if they were a pessimist, suspect that the writing would necessarily take a quality dip as more characters and events are introduced to the story. I am pleased to report that this is not the case - pleased because this has happened, previously, with other works on the same topic. Grand prose has a habit of giving way to the rote. Gaiman manages to strike the perfect balance between intellectual interest and joyous storytelling. His fiction background, naturally, has helped with this task enormously. 

Best of all are the characterisations of the gods themselves. Thor is a bounty of hard-headed brashness and implacable optimism…when he has Mjollnir, anyway. Odin is a wise and steadfast figure, if perhaps prone to his own brand of trickery. Freya is an unashamed feminist, constantly berating the Aesir for their unthinking folly. Loki is a proud and egotistical problem-solver with delusions of grandeur. Each character, be they god or elf or dwarf or giant (or eagle or wolf or snake) are presented with unique character traits and mannerisms. And to top it off, these gods do not speak in thees and thous: instead, Gaiman treats the gods as if they were real people with extraordinary abilities and responsibilities, and they speak accordingly.

Gaiman collects the best known stories and a few lesser, harder to research myths, and presents them as one cohesive story with an ease that Sturluson couldn’t possibly have dreamed of, and which few academics have replicated. From the beginning to the Ragnarok, the reader is completely transported.

@neil-gaiman has given the world an incredible gift, and we are not worthy.

Should I buy this book? Yes, a thousand times yes.
What do you rate it? 5/5 stars.
Favourite part? Every single time Freya snaps at Loki.

anonymous asked:

writing prompt? andrew and neil get into this huge fight while andrew is driving so he tells neil to get out the car and walk the rest of the way. idk you don't have to do it but i thought it could be really cool. x

Where We Belong (ao3)


“I swear to all that is holy, if you mess with the radio again, I will slice off your hands.”

“Do you really think I’m afraid of you, Andrew?” Neil asked. He pressed the scan button and the radio started rapidly going through the different stations. When Andrew tried to reach forward and stop it, Neil smacked his hand out of the way. “This isn’t actually why you’re mad, is it?”

“I’m not mad,” Andrew said, his voice dripping over mad like it was the most disgusting word in the world, “Anger would imply that I care, which I don’t.” His hands tightened on the steering wheel. As the car cycled through static stations, the only sound in the car was soft static and the creaking leather of Andrew squeezing the life out of his steering wheel.

“If you keep at the rate you’re going, not only will you get a speeding ticket, but you’ll also snap off your steering wheel.” Neil had waited until the radio started going back through stations before he started talking. The twang of country songs only amped up Andrew’s ire.

Andrew wasn’t speaking, though. He only pressed harder on the gas, making the speedometer lurch forward, just like the car. No, Andrew wasn’t mad, but he sure was pissed, which okay, arguably the same thing, but if the court reporter read back Andrew’s statement, it would be clear that he had not perjured himself.

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‘Orphan Black’ has revolutionized TV visual effects, and you probably haven’t noticed half of them

Orphan Black debuts its fifth and final season on June 10, and while the show will always be remembered for introducing us to the incredible, multifaceted performances of star Tatiana Maslany — who has brought almost a dozen clones to life over the course of the series — some of its greatest achievements are moments that you never realized you saw.

Visual Effects Supervisor Geoff Scott and his team at Intelligent Creatures have been in charge of bringing Clone Club to life across the show’s 50 episodes, and like a magician performing up-close tricks, much of their work is designed to be invisible.

In a TV landscape where viewers are used to screenshotting their favorite scenes to search for clues, this visual sleight-of-hand becomes even more impressive. Suspending our disbelief for dragons or zombies is one thing, but every one of the visual effects in Orphan Black needs to be indistinguishable from reality, and it’s a feat that truly takes a village.

Click here for more. 

The Lost Special: The One Way to Tie Up Every Loose Thread

In the last month this corner of the Sherlock fandom has thrown out a multitude of ideas for a narrative that could potentially resolve every last inconsistency in Sherlock series 4. Not knowing it, this community has debated different readings – all perfectly valid with only minor holes in logic – but have missed how they might all fit together into an intricate puzzle, each reading validating the other.

I have found one way to connect every loose thread.

Topics resolved include:

– EMP Theory vs “TFP as John’s TAB”: why both readings are meant to be exposed to the viewer (but we just found them too early)
– Benedict’s insanely long monologue they mentioned him having in Series 4.
– How another episode would only be comprised of a few new scenes
– Mary’s character development drifting far from her original plotline
– Moffat’s Doctor Who narrative that includes Toby Jones as a Dream Lord and what that means for Amy in “Amy’s Choice” and Sherlock in The Lost Special.
– How POVs intertwine in TFP, and how TPLOSH inspired the way The Lost Special would end.
– The entire bizarre nature of Series 4
– Breaking the 4th Wall
– The focus in The Six Thatchers on “The Duplicate Man”, “Twins”, “Two places at once”, and “Dead AND alive”.
– Three Garridebs
– Benedict claiming “Love conquers all” while Steven Moffat facepalms.

So if you want to know the one way this could all work, check out the rest of this post. But hear me out until the end, suspend your disbelief until you’ve finished, because regardless of whether or not you believe we’re getting The Lost Special, this reading which combines everything we’ve talked about for the last year is definitely arguable and until something else gets proposed, it is the one I’m sticking with til the bitter end.

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Sherlock Series 4 as “Epic Theatre.”

Largely inspired by @toxicsemicolon‘s theatre related posts- here; here and here

“Why would you do this, this pantomime, why?”

Mycroft’s anger is in response to Sherlock creating a theatrical performance, a lie to scare him. The mention of “pantomime” makes me think of false stories, and many metas have been written on the unreliability of series 4 in general, to not take it as face value: it’s a false story, all smoke and mirrors.

What if we take Mycroft’s words as both literal and symbolic, though? Sherlock Series 4 is both literal theatre and a constructed false story.

toxicsemicolon’s posts are mainly about Sherlock and the Theatre of the Absurd (to me, it’s like ‘what would happen if Sherlock suddenly made no sense, the point is there is no point! etc etc). And I was taking a screenwriting course, and something called Brecht and Epic Theatre was mentioned. I didn’t know what it was, but it sounded interesting, so I looked it up!

^This video really helped me start understanding it- I’m by no means an expert! This quote from it was particularly helpful:

“And we’re not meant to sit comfortably and predict what’s going to happen, because that’s not what this play is about. And I think the more they throw in things that are unexpected, the more that they shake you up when you feel like you know where this is going.

Basically, I think Series 4 is showing what happens when the normal ‘rules’ of the story we’ve been watching no longer apply. Now, we’re in the land of (UNCONVENTIONAL) theatre, and reacting in similar ways to how the first audiences of the theatre of the absurd and epic theatre reacted: disorientation, confusion, resistance. 

Introduction from wiki:  Epic theatre (German: episches Theater) is a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners who responded to the political climate of the time through the creation of a new political theatre. These practitioners included Erwin Piscator, Vladimir Mayakovsky, Vsevolod Meyerhold and, most famously, Bertolt Brecht.

Shared elements in Epic Theatre & Sherlock

While not invented by Brecht, the Verfremdungseffekt, known in English as the “estrangement effect” or the “alienation effect,” was made popular by Brecht and is one of the most significant characteristics of Epic theatre.[7] Brecht sought to “re-create the relationship between the actor and audience as dialectic” so that the audience would not longer “willingly suspend disbelief.”[8] The Verfremdungseffekt makes the audience feel detached from the action of the play, so they do not become immersed in the fictional reality of the stage or become overly empathetic of the characters with the hope that Epic theatre will turn “the spectator into an observer” and arouse “his capacity for action, force[ing] him to take decisions.”[9] 

This is what The Final Problem is all about to me. We’re encouraged to no longer view this as a ‘normal’ episode, to pay attention to the discrepancies- for example, the glaring ‘missing 10 minutes’ of John’s therapy appointment, and him apparently being shot by a tranquilizer gun. (x) And, there’s the general dissonance in tone of the entire episode- things that would normally give us a poignant, emotional reaction such as the burning of 221B are handled poorly (see If you want to make me laugh OR cry then do one, not both!This makes us resist our usual willingness to “suspend disbelief”, distances ourselves from emotionally investing like we usually would. 

And, that turns out to be a good thing, because now, we shouldn’t be emotionally investing in these particular portrayals of our usually beloved characters. They are deliberate caricatures of themselves. Turns out, that’s also part of Epic Theatre, specifically the way the “alienation effect” is achieved: 

Some of the ways the Verfremdungseffekt can be achieved is by having actors play multiple characters

This doesn’t happen quite literally in Sherlock- as in, say, Una playing both the role of Mrs Hudson and Norbury, or something like that. Rather, because our emotional investment has been removed, we are able to see the characters as stand ins for Something Else. For example, Mycroft is no longer ‘Mycroft’ but a stand-in for Mark, the writer watching his own creation crash and burn, and get high-jacked by The Final Problem story. 

More techniques:

rearrange the set in full view of the audience 

And yes, this one does quite literally happen. Our “set” of 221B is destroyed, and the audience gets to see it, “the stage”, re-made in front of their eyes:

And our own set designer of Sherlock, Arwel Wyn Jones, gets to have a cameo there- again drawing attention to the very fictionality of the show itself, its own set designer is doing work in front of our eyes that is usually reserved for off screen/on stage.

“break the fourth wall” by speaking to the audience.

Well, this phrase is definitely taken to the extreme… see this post:  Sherlock breaking the fourth wall by LITERALLY BREAKING DOWN FOUR WALLS AROUND HIM.

Lighting can also be used to emulate the effect. For example, flooding the theatre with bright lights (not just the stage) and placing lighting equipment on stage can encourage the audience to understand that the production is merely a production instead of reality.

Such a moment happens in The Six Thatchers, where we see a camera in the right-hand corner of the screen as John confronts Mary:

Seen more clearly in this post.

For more posts showing how S4 draws attention to the very fact that it is FICTION, see:

Deciphering Mycroft at the Movies

Remind you of anything? A facade? (Please let the projector light be our smoking gun)

Prompt: I think you are beautiful and I would like to kiss you.  I can think up some clever lines, if you’d prefer.  But I wanted to say that, first. (None of those lines seemed to be about you or me.)
~1k, alternative meeting/meet cute, no warnings!
meme

Blaine sees him every morning. As his bus turns the corner at 8.36, the most beautiful man in the world is picking up flowers from a small stand, bill in hand ready to hand over. He always looks sad, Blaine thinks, his expression heavy and his shoulders a little too square, but he always thinks to himself that whoever it is that gets a small bunch of yellow flowers from the most beautiful man in the world every single day is a lucky person.

Blaine spends the rest of him commute imagining what a man that beautiful’s name must be. Something elegant, he thinks. Perhaps an Alexander. He’s so pale against the grey of the city that it almost makes sense to imagine that he’s Russian. Blaine imagines learning to make pierogi for him, and then bumps his head against the window and grins to himself. His mama always told him he was a hopeless romantic, and here he is, imagining a life with this man he sees for less than a minute a day.

(He’s given him many names and many lives over the weeks and months he’s seen him. Tomas is a Czech web developer who likes expensive wines and pretty Midwestern boys. Rhys is a Welshman who lives in London and working on an international contract for a telecommunication company. He likes French movies and American boys. Patrick is from Regina and is an international student. He’s brought his liberal Canadian politics with him and is buying flowers just to brighten his student accommodation with. Dicky is in family law, grew up in the Midwest and studied in New York and has never found a reason to go back. He loves fashion, scarves, and good Midwestern boys who love football. Blaine knows it’s ridiculous, but his own real life adventures in love have been more miss than hit, and a few seconds with the angel and his flowers has to be enough. His name is Anthony and he’s from Florida…)

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Double Team

Title: Double Team

Summary: Sam and Dean get rough when they double team you in the shower. Inspired by this imagine (x).

Author:  Dean’s Dirty Little Secret

Characters:  Sam Winchester x female reader x Dean Winchester (no Wincest)

Word Count:  1883

Warnings:  nsfw, threesome, explicit language, explicit sexual content, unprotected sex, fingering,

Author’s Notes:  Thank you @mamapeterson for the advice and being my always awesome beta. I wrote this because my brain needed a break from the plot driven piece I’m working on, so I hope you guys enjoy some gratuitous smut. Let’s just put it out there that this is going to be one seriously cold shower by they time they’re done, I know that. Suspend your disbelief and pretend it’s a never ending hot shower. :-)

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  • Korra: Avatars receive meaningless threats all the time. It’s really no big deal.
  • Lin: Of course. Totally. I mean, why would a death threat be a big deal? Oh, that’s right, because it threatens death!

The only modern AU I’ve seen so far that I liked was vegan yoga instructor Chirrut and his omnivore natural eating mechanic husband and so I’ve been thinking on that so consider if you will:

  • Chirrut and Baze used to be professional martial artists (though Baze was running hits for the mob at the same time) and met while training. Baze retired (from both jobs) to become Chirrut’s trainer.  The first time Baze asked Chirrut out was when after coded flirting in the locker room he absolutely wiped the floor with him on the mat.  
  • Chirrut takes Taoism very seriously, while Baze was raised Buddhist and doesn’t really care. 
  • Chirrut’s career ended when he was blinded during one of the many protests around Tienanmen Square in the late 80s/early 90s.  
  • Chirrut now teaches yoga to white middle class moms while Baze runs a small motor shop next door.  Chirrut sometimes calls out across the yoga studio in canto and Baze comments back in mandarin from the adjacent kitchen where he’s making tea and the white middle class moms think they’re cute because they’re such an old married couple in love but half of the time it’s a joke about one of them. They live upstairs and if you wear shoes in their home Chirrut will never let you live down your mistake.  
  • They got married as soon as it was legal to do so.  There was no real proposal, it was a mutual decision that made sense.
  • There’s a rumor that Baze knows how to get machine guns and military grade weapons illegally from China but if anyone comes knocking to find out they get shown the door and sometimes their own asses. But he does know, and has a mini arsenal of weapons hidden in various places in their zen hippie apartment. Chirrut has knives hidden in a few places.  They’ve made some enemies in their 50 years of being unapologetically political. 
  • One day Jyn Erso and Cassian Andor are running from government hired muscle or cops or whatever and run to hide in Chirrut’s yoga studio.  The government thugs tell this blind peaceful looking yoga gay to hand the kids over or else and not to push them they’re not against hitting a blind guy, and get their asses handed to them.  One of them almost gets the jump on him and is knocked out by a wrench to the back of the head by Baze who is like wtf is going on in here.  Jyn and Cassian are like THE FUCK DID I JUST WATCH THAT WAS AMAZING
  • They teach Jyn and Cassian hand to hand martial arts combat skills and Jyn is way better at it than Cassian. 

raythebrutallyhonestguy  asked:

I saw your blog and I must ask one thing for people I know: Why didn't they take the eagles? It's a question, not a way to piss you off.

Hello! Thank you for asking.  :D Gotta love the Eagles.

Lots of reasons!!! 

We all know that the fantasy genre is all about suspending your disbelief. When you’re reading a work of fantasy, you can accept anything….as long as it’s given an explanation that’s consistent with its world’s rules.  The explanation doesn’t have to perfect, it just has make enough sense for us to buy it. The “real” reason the Ring can’t be destroyed by an axe is because then we wouldn’t have a movie. “The Ring can only be destroyed in the Fires of Mount Doom because Evil Power Magic”–we accept that because it’s the premise of the film. “The Fellowship can’t take the Eagles to Mordor because these reasons”; that’s also something we’re supposed to accept. 

And the thing with the eagles is…we are given plenty of acceptable reasons/explanations? Reasons that might not be perfectly realistic (because nothing in fiction is perfectly realistic) , but are logical enough for you to suspend your disbelief.

In fact:

Hey, any fellow Tolkien Dorcs! 

Reblog this post with Reasons why the Fellowship couldn’t have taken the eagles to Mordor?

If you feel like it. You don’t have to but it could be fun.

My favorite is:

1) Mordor has tons of Anti-Eagle Defenses, making it impossible to enter by eagle

As screenwriter Philippa Boyens said during the film’s commentary: 

 "Why does everyone always say that(they could’ve taken the eagles)?! The flying Nazgûl on their Fell Beasts would have stopped them! How much more obvious does that need to be?! Mordor has flying creatures too!“

Originally posted by mirkokosmos

And in addition to the Fell Beasts/Nazgul, Mordor has plenty of orc archers at the ready. This is the universe where even a  powerful dragon like Smaug could be killed by a single arrow.  (Just one arrow! Killing a dragon ten times the size of a Great Eagle, and covered in armor-scales!) The book The Hobbit confirms that eagles fear archers, because arrows can grievously wound them. Gwaihir, the Lord of the Eagles, nearly died from an arrow wound.

 And even if you don’t buy that a single normal arrow could kill an Eagle (which it could) remember that Mordor weapons are often poisoned (like the arrows that nearly killed Faramir) or cursed (like the Morgul Blades the Ringwraiths carry, or in the Hobbit-film-canon the “Morgul Shaft” arrow that almost kills Kili.)  And Mordor has catapults! 

“But we see the Eagles in the Battle of the Black Gate and they seem to hold their own against the Fell Beasts!” Yeah, but 1) most of Sauron’s ground troops are occupied with fighting Gondor’s army– so there are no archers to shoot the eagles. 2) Sure, the Eagles can fight the Fell Beasts…..but would they be able to do it while people are balancing on their backs????????? Watch that final battle scene again and imagine Frodo on one of the Eagle’s backs, flopping around trying to hold on as the Eagle does all those cool spiraling-sideways and upside-down moves. Frodo would fall off and die. Splat. The end. Roll credits. 

There’s also the fact that “the broil of poisonous fumes”  Sauron creates can’t be all that safe to fly in.

TL;DR: A flock of eagles isn’t discreet– they couldn’t sneak in. They’d be spotted from miles away. 

And a military tens of thousands strong excited to begin war, thousands of archers, skies full of poisonous fumes, the War-Bats referenced in the Hobbit (book and film) and at least nine horrific-dragon beasts…all the might of Mordor…would fall upon on the group at once.

Only one Eagle would need to die for the Fellowship’s mission to fail– Frodo’s. And with all Mordor attacking them, either it or Frodo certainly would. 

I leave you with this:

Flood my Mornings: Unimaginable
  • This story takes place in an AU in which Jamie travels through the stones two years after Culloden and finds Claire and his child in 1950 Boston.

@themusicsweetly​ asked:  For when Claire eventually is preggers, their first time with an ultrasound machine.

So here’s the thing: 1951 is at *least* ten years too early for fetal ultrasound. 

HOWEVER, this was one of the first FMM scenes I wrote after the reunion (even before this prescient ask!)  and at the time, I wasn’t even thinking about historical accuracy. Soooooo, I’ll ask you to put on your suspenders of disbelief (TM @stageandhistory​‘s teacher) and just enjoy the anachronistic ride. 

[Also, there’s a bit more of a time jump on this one than I normally go for, but I was feeling antsy to get to a landmark scene, so HERE WE ARE. (but I’ve got some planned flashbacks in the works for later, so don’t hesitate to request scenes from the months I passed over, if you’ve got a need!)]


Late April, 1951; Harvard University Hospital 

“Fine—Sweetheart—I’m fine!” 

The words were barely more than a muffled mumble into his shirt. Based on how tightly he was clutching me, I should have insisted to speak with him directly instead of leaving the message with the Fernacre receptionist; or at the very least, I should have been more emphatic with her that there was absolutely no emergency at hand. 

I hugged him tighter in reassurance. “I’m so sorry, darling—I truly didn’t mean to frighten you. Everything’s fine, I promise.” 

“But Nancy said ye were in hospital.” 

At the hospital—at Harvard—” 

“Aye, not your proper hospital—and I was in the furthest pastures—” he said in a rush, cupping my head hard. “It took them so long to ride out to track me down—that—and then the Traffic—I thought—the bairn—

God, and what must he have thought? With my being several weeks past six months, the same time at which—

“We’re fine, Jamie, I swear. See? We’re in the academic wing, not intensive care.” I pulled out of his arms and tugged him toward the open door nearby. “Come with me: I have something to show you.” Trying to suppress my grin, I ushered him into an empty lecture hall and closed the door behind us. 

Standing there, still in his work clothes and smelling of horse, Jamie was breathing heavily and looking as though he meant to either cry or fight someone or both. “Please say what’s happened so I can stop this aching in my chest.”

Despite his agitation, I managed at length to get him to sit in the professor’s chair. I leaned against the desk facing him, trying to keep back the storm of happiness. “You know I had my final examinations this morning?”

 A nod, a pause, and then a tentative, “…Did they go well?”

 “Very well, I think. But as I was gathering my things and headed out, my professor suddenly stopped me and asked if I’d be willing to assist one of the med-tech research departments with a demonstration. I was taken aback of course, but I trust Dr. Gordon—you remember, he’s the one that’s been so impressed and supportive?— so I was willing to see what was what, at least.” 

This exposition did not seem to have done anything to lessen Jamie’s tension; in fact, he looked downright ALARMED at mention of me participating in some sort of vague experiment. Well, so had I been! 

I went on, hastily. “And so he led me to the research wing and introduced me, and—And well, I called Fernacre as soon as they explained what it was that they were going to be testing out, because—Oh, Jamie, it would have been absolutely magical to show you as it was happening. But I managed to get the next best thing.” 

I handed him the glossy print, heart thudding. “It’s something like an X-ray, see? This was only a prototype—very few people in the world have used this technology.” He kept staring down, and I babbled anxiously to fill the silence. “It isn’t even a good likeness of the fuzzy readout I saw. I badgered someone to find a camera, and the flashbulb reflecting against the glass television screen makes it quite hard to see, and I’m sure the print itself isn’t great, either—I badgered another department to develop it for me quickly, so it’s barely more than a blur, but…”

For more than half a minute Jamie had stared down at it, turning it this way and that—

But finally, the image must have clicked into place, for he gasped and nearly dropped it. 

“You see it?” I was beaming, holding back tears. “Can you see?

“Is that…?”

Yes,” I choked out, “that’s him.”

So engrossed was Jamie in the image before him that he didn’t immediately seem to hear me. Then, he looked up so sharply it must have hurt his neck, blinking like he’d stepped into bright sun. “H—him??”

“You can’t tell in this shot,” I whispered, not meaning it to be a whisper, but so hoarse with feeling I couldn’t help it, “but the technician was certain.“

“We’re going—” Jamie was grinning like an utter addle-pated simpleton. “—to have a—a wee lad?

I nodded, smiling back but also weeping, lips pursed tight, and suddenly unable to speak at all through the lump of happiness in my throat.

“Oh, Claire…” Jamie was on his feet in a second, laughing and holding me as tightly as in the hallway, but this time in joy. “Oh, LOVE!” 

The next I knew, he was beaming into my eyes, holding my face. “I’d have been just as thrilled wi’ a wee lassie, mo chridhe, but….Jesus, God, to KNOW—!! It’s…absolutely miraculous.”

“Honestly, this is— unimaginable to me, too,” I whispered, leaning my forehead against his as I looked down at my belly (at my son!). “To be able to see an unborn child….To be able to see right into the womb without cutting! I never even dreamed of such a thing. Jamie, it…I saw him.” 

“And he’s—alright?”

“As far as they could tell.” I sighed and smiled, giving in. “Yes…yes, he’s alright.” 

If two sane people could be delirious with joy and relief, it was us. We must have looked quite out of our senses to any passerby, so intensely we were beaming and grinning and clinging tightly to faces and hands. 

Without preamble, Jamie stuck the precious photograph in his breast pocket, swept me up into his arms (ignoring any protest against handling my massive bulk), and settled back into the chair, cradling me in his lap. 

We sat there in beatific silence for I don’t know how long, with soft touches and wordless sounds of tenderness and awe. 

At last, Jamie simply couldn’t contain himself. “What will we name him? Our—son?” 

We hadn’t discussed names at all, to date—both of us perhaps afraid to tempt fate until the birth was closer at hand. But I had seen him, today—seen the outlines of his tiny feet move at the same exact moment I’d felt him kick—And it changed everything. There was still risk, and there was still fear; but the hope in me was glowing and radiating throughout my entire being. This child, this little boy, was alive and well. He would be well. And he needed a name. 

“Well, let’s see….” I beamed and traced patterns on Jamie’s shoulder. “I suppose we can’t have a Brian AND a Brianna.”

Jamie laughed, “No, indeed. The first Brian Fraser will get the big head up in heaven. Though what about your Da? Henry’s a good, strong name, aye? What d’ye think?” 

“I’d very much like to use it as a second or third name… but I can’t quite see it as his first.” 

“’His,’” Jamie echoed in a gleeful murmur. “…He’s a him.”

My delighted giggle hit me mid-kiss.  “Yes, darling,” I crooned against his lips, “he’s a him.” 

Jamie brightened. “Say, now, what about Robert? That was my wee brother’s name, and one of my Da’s as well.”

I must have made a face at this, for he smiled and rubbed my belly, leaning down to whisper confidentially, “Your mam doesna like your name one bit, wee Rabbie.”

I laughed and amended, fairly, “If you feel strongly about it, I might be persuaded. I’ve just—Honestly, I’ve never liked the name Robert. Robert…. ROBERT….” I tried the name several more times, making grotesque faces as I tasted the syllables. “No, sorry, just won’t do.”

Jamie wasn’t offended, and in fact, we both repeated the rejected name a few more times each, trying out ridiculous accents and intonations to completely rule it out as a frontrunner until we were little more than a mass of giggles there in the professor’s chair. 

Then, as if by magnetic force, we quieted and turned our eyes back to my belly—to our little him. 

We were still for a long time, both of us imagining we could see our son curled up asleep, as I had so briefly and hazily today.

“Lambert?” Jamie said. 

I smiled fondly, but shook my head.

“William?” I offered softly, a while later. “For your brother?”

Jamie made a sound of acknowledgment, thinking, but said nothing.

There was a bird singing outside the tall, sunny window. Leafy sun-shadows spangled the walls and a tiny breeze brought the scent of spring to surround us. 

And as a second bird chimed in outside our little haven, Jamie’s hand tightened lightly, significantly, on my belly, eyes shining. “What about…Ian?”

“…Ian…” I breathed back, putting my hand over his, feeling something settle perfectly into place. “Oh, yes, that’s….Ian…”

Not the blood-brother long-mourned: the brother of Jamie’s heart whose loss was still an open wound. They’d known each other all their lives; had fought together and defended one another, had been each others’ champions in battle and at home. And it struck me for the first time that Ian Murray was the only brother I myself had ever known, too. Ian had been a true kindred spirit, ever an ally in our den of blood-Frasers. And beyond that, Ian was—had been my friend. I missed his ready smile and his wit, his compassion….

Ian. 

It was painful—but perfect. 

“Ian…Henry,” Jamie murmured reverently. “A fine name.”

“Ian Henry…Fergus?…” I offered, my voice cracking.  

I felt the convulsion go through Jamie and I touched his face. I know, love. I know.

Lord, the grief—the grief of holding one son between us and longing for the one we’d left behind; and for Jamie, how much more raw that grief. For Fergus had been there with him for those two broken years, had been a joy and a comfort to him when little else could be; and we could never see him again. 

“Aye,” Jamie said at last, smiling weakly through reddened eyes. “Ian. Henry. Fergus. Beauchamp—”

Fraser,” we finished together in a whisper, all four hands covering our little boy. Life and loss, joy and mourning, so inextricably intertwined. 

There were tears in Jamie’s eyes, as there were in mine, and his voice was deep and husky with love as he looked down at our hands and rubbed gently. “You’ll do them all proud, Ian.”

And damn me, if our little guy didn’t kick, right on cue. 


anonymous asked:

hi! you know a lot about sex, and also writing. there's a fanfic trope that i have questions about two men realize their love, make out, want sex. but alas--no lube. never fear, one character grabs whatever is nearby for lube. i've seen lotion (as a person w/ a vagina this makes me terrified of irritation, but okay), vaseline, cooking oil? toothpaste?? whipped cream??? is it safe to put such things in one's butt? would that even be effective as lube? thank you.

Good question! There are many lubricating agents that reduce friction. MOST OF THESE AGENTS DO NOT BELONG IN THE BODY.

Fanfiction requires the reader to suspend disbelief, but there are moments when you simply can’t. Lube, like love confessions and mindblowingly good sex every single time it’s had, is the sort of thing that writers tend to hand wave, although some of the stuff used in fiction as lubricant boggles my fucking mind. Here is a list of acceptable and non-acceptable lubricants for fictional and RL sexy times.

Types of Personal Lubricant:

- Water-based: This is the best overall lubricant to use, as it does not interfere with latex condoms or silicone toys, is absorbed into the body without any issue, and doesn’t irritate the skin. The only drawbacks are that it can be absorbed by the body too quickly, being water-based and all, and it isn’t the best when it comes to anal sex (more on that in a moment). When using water-based lube, one may need to reapply a few times and steer clear of having sex in pools or the bath (as water-based lube will dissolve in water). 

- Silicone: Slipperier, thicker, and longer lasting than water-based lubricant, which makes it a favorite when it comes to anal sex. The thickness of silicone helps cut way down on friction (as the anal cavity does not provide its own lubricant the way the vagina does). However, silicone lube has its drawbacks as well. It’s been reported that some people’s skin reacts to using it. Also, it shouldn’t be used with silicone or jelly-based toys, as silicone molecules don’t react well with other silicone products, and this reaction can lead to the breakdown of the toy. Silicone lube is okay for harder materials, like glass, metal, and hard plastic. 

- Oil-based: While it has the benefit of lacking chemical additives, oil-based lube has a nasty tendency to break down latex condoms. I repeat: do not use oil-based lube with latex. 


Acceptable Lube found in fiction:

- The types of lube listed above (Astroglide, KY, etc.)
- Olive oil: Fine if condoms aren’t being used. 
- Saliva: Wouldn’t recommend using this for penetration; saliva dries quickly and is not enough to cut down on the friction of vaginal or anal sex. Hand jobs are fine, but characters will have to keep licking their hand to maintain optimal wetness.
- Vaseline: Fine if condoms aren’t being used (and if you don’t mind it sticking around for a while. Vaseline is notoriously hard to wash away.). 

Unacceptable Lube found in fiction:

- Butter: If the threat of bacterial infection isn’t enough to put you off, remember that butter is a milk-based product and will spoil. I’ve seen this used in fiction before and I always make the same, horrified face. If your characters are getting it on in the kitchen, have one of them reach for the olive oil instead.
- Hand lotion: Lotion is not for internal use, particularly not for vulvas, vaginas, or anal cavities. If your character is using this to jerk themselves or another penis-owner off, fine. But that’s it.
- Toothpaste: What? Is this a thing? Oh my god, DO NOT USE THIS AS LUBRICANT FULL-STOP JFC
- Whipped cream: See: butter. Also, gross?
- Blood: If you use this as lubricant, I will crawl out of your screen like the girl from The Ring and throttle you.

2

Or: why I appreciate the newbies on Arrow

*Note: This is a bit of a ramble, but I get very little time on SM lately and have been wanting to put this out for a while. So between tasks I had a few minutes, so here it is.


I was having a discussion with @ireland1733 the other day about (what else?) Arrow. One of the things that came up with her, and I continually see with other fans online, is the marginalization of OTA and the strong push for new characters.

Now I have made no secret of the fact that I love Arrow for Oliver, Diggle, & Felicity. And I have such a soft spot for my fellow STEM geek. LOVING Dark!Felicity so far!

Part 1: A LOT of what I see on the show I have to suspend disbelief because it’s a show inspired by / based on COMIC BOOKS. Not a whole ton of reality is expected. But Arrow is different. Despite some questionable choices made last year that included magic, Arrow has managed to stay well-grounded in their storytelling. But these three are always around. WILL NO ONE EVER PUT THE PIECES TOGETHER? (see Professor McGonagall above)


Part 2: I am not a “and they lived happily-ever-after” girl. I want to see some of the “happily ever after”. If season 3 had been the last season, I’d have been PISSED.

So…onward to season 4 and the sweet wonderfulness of newly discovered bliss.

But as I’ve said before, I still wasn’t satisfied. The domestic life was not fulfilling for Felicity (no more slow cookers), and Oliver was still running - this time from the Green Arrow side of himself. So… they blew it up. IN THE WORST WAY  - but that’s another story.

Fast forward to now. We’re rebuilding (the angst is REAL folks) and it both hurts and feels good at the same time (it’s GOOD angst). Olicity has been shaken to it’s core, but the rebuild has started and the RECONCILIATION IS COMING - I’M SURE OF IT.

Now - to my point. Oliver, Diggle & Felicity are the heart, soul and core of Arrow. But let’s be real. Or as real as we can be. One day (maybe we’ll see it, maybe we won’t) there will be Olicity babies (y’all can debate how many @jbuffyangel - I’m content with one). And maybe another Digglette (I don’t know, maybe a girl this time? I mean, again, I mean - UGH Arrowverse :() But babies take time. Effort. Single-minded focus. Did I say they take time? How are these two beautiful families going to be able to enjoy the lives that they’ve wished for if they never get a break?

Enter:

So I like the introduction of new characters. Do I miss Thea? ABSOLUTELY (and I’m hoping both that there’s a good explanation for her absence and that she gives EWR her comeuppance). I miss Roy.  But the new BC? Mr. Terrific? Wild Dog? I’m giving them a chance. Because of them, in time, OTA can be sitting on a beach somewhere toasting their friendship and good fortune, watching their children splash around in the surf, knowing Star City is in good hands.

strontiumsun  asked:

I have a character who I write and draw named Hannah, a teenage black girl. Because her story takes place in the Dream World, she's always wearing pajamas. Not long before I discovered this blog, I learned that many black women wear head wraps to sleep. I want to be accurate to what black people wear to sleep, but Hannah's design has always involved her hair being visible. My question is, can she take the head wrap off but keep the rest of her pajamas on without it suspending disbelief?

Black Girl in a Dream World & Sleep Head Coverings

I do like the idea of keeping her hair visible and not hidden away or tied up 24/7. Seeing her pictured in her head wrap of choice at times would be cute and a nice piece of representation as well, though. 

Head wrap wise, you’ve got many choices, from silk bandanas, decorated to plain headwraps, and silk-lined hats, to the regular ole bonnet (commonly black but comes in colors, and often mistaken as a shower cap from those who don’t know what a hair bonnet is).

She could always be shown in the scarf, bonnet, or whatever she chooses to wear right around the time she goes to sleep/slides into her nightly routine.(Though as Brei mentioned here some do casually keep their wraps on longer.)

Also, some people, like myself (before I destroyed my pillowcase… but that’s another story), sleep on a satin pillow as a preferred night protection method and skip the bonnet most nights. 

All about the individual.

~Mod Colette