this is actually a very terrible drawing

dad!rex AU

[Because @dakt37 is a terrible, horrible, no-good influence who draws comics way too cute for their own good. Grrrr. *G*]

Their arrival is announced long before anyone actually gets into the house, by the throwing open of car doors and a distant shriek and what sounds like both shoes and elbows hitting tarmac. In the kitchen, Cody can see that Obi-Wan, through his smile, is setting down his glass of tea down in a very carefully safe place, shoved to the back of the counter next to the kettle, and Cody can’t say he blames him one bit.

“Ready?” he calls, and means it. 

“Can anyone be? Ever?” Obi-Wan says back, in a tone of very fond long-suffering, and is drowned out, well before he can expect an answer, by the front door banging open with enough force to probably leave a dent in the wall. There are suddenly backpacks tossed into corners, sneakers (thankfully) left in a muddy pile on the doormat, and Cody puts one foot behind the other to brace for the coming avalanche.

“Uncle CO-dy!”

They’re skinny and summer-tanned and yep, it hurts just as much as ever when they slam into him, but he wouldn’t give that up for the world. 

“Heavier, too, my god,” he groans, and swings a giggling Echo up to his shoulder while Fives tugs at his pockets. “Aren’t you ever going to stop growing?”

“Nuh-uh,” Fives bellows, and then, as per usual, he’s charging off to the kitchen to demand his typical tribute of two cookies upon arrival, leaving Cody to grin at the still-open door as Rex finally appears.

“Alright there, vod?”

“Ask me again later. When I’m sane,” Rex says, half-muffled; he’s got Tup in a baby carrier on his chest, one duffel bag on his shoulder and another in his other hand, and looks ragged around most of his edges, his replying smile genuine but crooked. “Thanks for letting us crash here. I could kill our fucking neighbor. You didn’t hear that,” he adds, looking down in the slight, always adorable panic that Cody loves, at Tup. 

“I did!” chirps Echo, and then he wisely wriggles out of Cody’s arms and runs for it, joining his brother in the (fairly easy) challenge of screwing more sweets out of Uncle Ben.

“Ah,” Rex says, and looks almost mournfully after him, recognizing a battle lost.

“Well, at least that one’s asleep,” Cody says, reaching around Rex to snap open the clasps and take charge of Tup, who looks completely dead to the world, his brothers’ haphazard attempts at braiding or otherwise messing with his hair in the car gone unnoticed. “And it probably won’t take more than the weekend to get the flooding cleaned up. Okay drive?”

“Yeah, fine. They’re totally wired from being up half the night, but I imagine they’ll conk out soon. Boys!” Rex calls, and there is an answering, resounding crash which definitely sounds like more than two kitchen chairs falling over. “We’re taking our stuff upstairs!”

“Yessir!” shouts one or both of them - Cody can never really tell - and this time the chaos is far more purposeful as they scamper out to get their packs, only devolving back into a race when they get to the stairs, trying and failing to take them three at a time.

“I owe you one,” Rex sighs, and follows them up; Cody, meanwhile, has gotten Tup out of the carrier, and, with gentle little breaths on the side of his neck, makes his way into the other room to check on whether his husband is still alive.

He is, but looks much the worse for wear for it. “Hm,” Obi-Wan says, blinking, and then he stands up and starts to - futilely, Cody thinks, because it’s just going to happen again - brush up the crumbs coating the table. “I do believe they have actually gotten louder. I wasn’t sure that was physically possible.”

“We’ll just keep this one, then,” Cody laughs quietly, and loves the look on Obi-Wan’s face when he turns to see Tup’s face tucked into Cody’s collarbone. 

The next ten minutes are suspiciously silent, and when Cody steals up the stairs it’s to find that Rex’s senses are, as always, acute and correct, because the conking out has occurred in earnest. Cody will never get tired of seeing his brother like this, though Rex might bemoan screwed up napping schedules later - stretched out flat on his back on the double spare bed and the twin cots Cody and Obi-Wan had bought a couple of years back forgotten as Fives and Echo snuggle under and latch on top of his arms, little bare feet and scratched elbows and contented sleeping faces everywhere. 

“What do you think?” Cody whispers to Tup, and, getting a slight sleepy fuss in return, reaches over and settles him gently onto Rex’s chest, where he curls small hands into Rex’s shirt and calms. 

“Unbearable,” Obi-Wan sighs from the door, and Cody, grinning, leaves them all to it.

Okay I have to admit here, I’m bit in loss on what to do. Since my friend, who I made this blog with, has since left the undertale fandom, I haven’t been sure what to do. Some of my motivation towards this ship has left with them, as I’m sadly the type who needs someone else to work with and bounce ideas off of or I’ll lose interest pretty soon. Cherryberry is still close to my heart, but I haven’t been in touch with that ship in a while. 

No, I’m not leaving, nor am I quitting this blog. But I would like to start on a clean slate (not that there is much here about them anyway) and maybe bring some other ships as well. We’ll see.

So, do tell your opinion on that. Would you be interested in seeing some few other ships as well, or do you like the blog as it is?

anonymous asked:

I just want to say i LOVE these little doodles or yours and other peoples pets! They are adorable, I actually ordered one from you for my partner! (they're OBSESSED with Pangur!) it's arrived today and my partner is having a pretty bad day so I'm really glad i can cheer them up tonight with this picture! So basically, thank you <3

these dumbs drawings are quite fun for me, so I’m VERY happy to learn the folk receiving them are having fun as well!

anonymous asked:

idk his name bc I'm don't watch mha, but yknow angry yellow explodey boy? hurt Him.

That one time he got kidnapped, or as I call it, Bakugou and the Terrible, Horrible, No Good, Very Bad Day

anonymous asked:

Okay, but what about a vampireDark! X reader AU please!! Thank you!

Hope you don’t mind if I do a bulleted list for this one also. I can organize my thoughts on AUs better with bulleted lists

  • His skin was certainly already pale before, but it’s especially pale in this AU. Like he just looks dead. Or like someone who donated double units of blood at a blood drive and nearly passed out and is in need of medical attention.
  • He tries not to grin too terribly much. Some people don’t take kindly to seeing large fangs in someone’s mouth. But if they don’t seem to scare easily, he will give a devilishly captivating grin.
  • He still doesn’t have mind control, but he is definitely better at charming. In certain vampire lore, they have thralls.
  • That being said, I’m not entirely sure if he’d be in the business of having a ton of human servants. It might draw a bit too much attention to himself.
  • He’s the world’s smoothest talker, probably. Voice like honey, with sickly sweet words. Very comforting.
  • Unfortunately comforting, actually. If he can convince you to return to his home (and he usually can), then he’ll probably also convince you to let his teeth near your neck.
  • He doesn’t bite out of nowhere. Don’t wanna scare anyone, of course. If you scare them, they could scream, drawing unnecessary attention. So he gets the closest to permission as he can.
  • Speaking of biting, he doesn’t bite to kill. No, he just drinks enough blood to leave you dazed and disoriented. Make you question if it even happened at all.
  • He tries not to leave too visible of a mark. Actually, he doesn’t bite directly onto the side of the neck. It’s probably right where your shoulder meets your neck. Still good blood access, but easy to cover up with just a shirt.
  • He rarely turns people into vampires also. Too many people that could steal his prey.
  • He probably meets the majority of his victims in… shady venues. Or just happens upon them on a nightly stroll. Somewhere he can work his charisma to his advantage.
  • I already headcanon him as lacking body heat, but not cold. As a vampire, though, he’s as cold as a corpse. Vampires are undead, after all. No blood flowing through the veins. Because of this, he’s kinda weird about physical contact. He tries to stay in cooler areas so that it’s less noticeable and he could just say he’s a naturally cold person instead of seeming unnaturally cold.
  • Also avoids rooms with mirrors like the plague when he’s with someone who’s human. It’s hard to keep up his appearance that way, but he makes it work.

anonymous asked:

A thing that I have noticed is that a lot of webcomic dont use the art as tool for storytelling, there's so much one can do playing with panel size, form, coloring and perspective to stablish a character or narrator mental state, the mood of the scene and the foreshadowing! I dont usually read manga, but recently I read one that hides tarot card numbers in panels and uses a lot of visual cues to enrich the story, like a particular gesture to indicate that a character is lying or nervous, (1/2)

(2/2) a checkered pattern floor to show that the protagonist is being manipulated or just a well-placed flower (flower language), I never though of this things but now it has made more conscious on how I draw comics and at the hour to read a webcomic it has made me pay attention to panels details and not just the dialogue, to really treat comics as a visual medium. Sorry for the long text and mistakes (learning english!), I just wanted to share thoughts and thank you for all your advices!

Back in ye olde days of late 90s early 2000s, basically no one in webcomics could draw. 

Questionable Content, 2003

Narbonic, 2000. Narbonic got very good very fast, though. 

And any comic with even a competent artist would get a lot of attention just for that. 

Nowadays, actual artists realized that doing a webcomic could build a portfolio and even a brand, and the market with flooded with quality art

Ava’s Demon


And it became the Conventional Wisdom among us Webcomic Reviewers that art “didn’t really matter”. There were tons of beautiful comics with terrible storytelling, after all, and they were a chore

Dresden Codak. Note that the thing we’re supposed to be looking at in panel 2 is the metal ring showing that Kimiko’s arm is a prosthetic, but the camera is pointed at her boobs. 

Whereas webcomics with bad art but good writing were good comics.

Dinosaur Comics sets the floor for artistic quality, but is still really liked

Some of this was a bit of jealousy, too. Most people who write reviews of comics are bad at art, and prefer to think of writing, which is the thing they do, as the Primary Driver Of Quality. Then other reason is 

Understanding Comics

But the actual fact of a comic is that art is writing, and writing is art. They’re too intermixed to think of as separate skills

Dresden Codak has bad art. 

Technically, it’s fine. Hell, technically it’s amazing. If I quit my job and spent 40 hours a week practicing drawing, It would take me years to get to this level. But it’s not functioning. The panels are in a confusing order, and the shot of Kimiko with her back arched way back as if she wanted to make her boobs more prominent in the shot both makes no sense for the scene (compare to the last panel, where she’s leaning forward in a way that makes more sense), and is the wrong type of shot.

The point of that panel is to draw our attention to the symbol on the back of Kimiko’s black crop top thing, but because it’s a medium shot for some reason (so Diaz can draw boobs), there are TWO symbols on her back. The one of the back of her top is center-panel, but there’s a gear symbol peaking out from beneath the top that more literally fits the description of “the one on your back”, especially since we have no reason to think that the silver symbol isn’t part of her shirt. It should’ve been a close up of the symbol! So that we knew which one it was! 

Compare this page in Gunnerkrigg Court. This is technically bad art. I could possibly draw something like this in a day with my current skills. But the deterioration of the drawing quality is good art, because it gives the sense that Annie’s falling apart, which is appropriate to the scene. 

Tom Siddel can draw like a motherfucker when he wants to (also this layout is excellent), but for this scene of Annie taking her makeup off, he doesn’t want to, and that’s an artistic choice. A pretty good one, actually. 

Order of the Stick is one of the simplest comics out there in terms of visual style. This panel isn’t that hard to draw (compared to Unsounded, for instance). But it works.Even if you don’t know anything about OotS, this shot tells you a ton. You understand that these characters have been going through doors at random, and you know that there’s a shitload of doors. Despite it’s simple art style, this panel effectively conveys the scale of the challenge. 

None of this requires gimmickry (and sometimes gimmickry is good). You don’t need to be great at drawing to make a panel like that OotS one. 

And that’s just basic shot composition! There’s also stuff like the tarot card gimmick you mentioned, color palettes, and visual metaphor. 


While it’s important to remember films != comics, they can be a good resource for this kind of visual thinking. If I’m filming a scene two people talking, I can “draw” nearly as well as any director, since I have a camera on my phone. The difference between me and a great director (besides budget) is where I point the camera, and what decisions I make.

Anyway, here’s a nice set of panels from Octopus Pie, which are great at getting us into Marigold’s frame of mind in a way a good drawing wouldn’t.

anonymous asked:

Aww! That Friend Enemies Fic was so cute! Think you can do a continuation of it?

Of course I can! I really liked writing it and I was worried it was bad. But I’m glad you thought it was cute! Enjoy!

Read the last one here!

Marco jumped when his phone rang and he saw the caller ID. At seeing it was Tom he gasped and held the phone in his hands in total shock. What should he do? Should he answer it? Should he say something? Marco felt butterflies well up in his stomach, and he kept staring at the phone until the ringing stopped.

“That is the third time.” Marco turned around and saw Star standing in the door. “That is the third time Tom has called and you were too nervous to pick up the phone.” She reminded. “And you are still too stubborn to admit you like him!” She giggled.

“I do not have a crush on Tom! Why are you so intent on convincing me otherwise?” Marco demanded, crossing his arms. But his case was ruined when his phone buzzed again and he tackled it on the couch, checking the text message. “Tom has tickets to a Love Sentence concert and wants to take me!” Marco cried.

“Sounds like a date to me.” Star huffed. Marco narrowed his eyes and pocketed his phone.

“It’s not a date, for it to be a date I’d actually have to LIKE Tom, which I don’t.” Marco crossed his arms and Star rolled her eyes and watched Marco run around the house excitedly. “This is so great! What should I wear?” He asked his friend. Marco was jumping up and down as Star groaned and slid off the couch.

“You want to look good for your boyfriend?” She teased. Marco growled and stormed off.

“I’ll just find an outfit myself.” He mumbled.


Marco smoothed out his skirt and waited eagerly by the front door for the demon to pick him up. Why was he so excited and willing to spend time with Tom? A few days ago, even a Love Sentence concert couldn’t get Marco to hang out with him. But now he was almost jumping out of his skin he was so excited. And it wasn’t just for the concert, something about seeing the demon made Marco feel happy and excited and giddy. He knew what Star would say. She would claim he had a crush on Tom, but that couldn’t be right.

“You coming?” A voice called playfully. Marco looked up and beamed when he saw Tom hanging out of the carriage, waving at Marco. Marco jumped up and ran to the demon. Tom held his hand out to help Marco up into the carriage, and Marco felt his face blush when Tom took his hand. “I’m so happy you could make it.” Tom smiled.

“Y-yeah… m-me too.” Marco forced out. Why was he stammering? Why did he feel so nervous? Why was he sweating, that’s gross, what was he so nervous. These thoughts flooded Marco’s head as he tried to get a grip.

“Well we better get going.” Tom beamed, as the carriage took off. Marco gulped and nodded, something about being alone in a room with Tom made him feel nervous. Not in a bad way! Definitely not in a bad way. But it made Marco blush and stutter and have trouble breathing. Why was it like this ever since that dumb movie marathon?

“You haven’t answered my calls.” Tom pointed out. He didn’t sound angry, but curious. Marco tucked his hair behind his ear and cleared his throat. Should he tell the truth, that he was always too nervous to pick up the phone?

“Y-yeah… you just always seem to call at a bad time.” Marco teased, nudging the demon. Tom laughed and went back to scribbling something. Marco leaned over curiously and saw Tom was writing on a T-shirt.

“Star gave me the idea! She said to make concert shirts for me and you!” Tom grinned and handed Marco a shirt. It was really sloppy. Marco looked up and he could have sworn he saw Tom blush. “Yeah… it’s hard to draw on cloth.” He admitted. Marco smiled big and put the shirt on, it was WAY too big. “Do you like it?” Tom asked.

“I love it.” Marco assured. “It’s great.” He said again. He actually meant it. The shirts were terribly made, but something about them made them so special that Marco wanted to wear it everyday. And sleep with it on, and show it to all his friends. It was all of the sudden very, VERY important to him.

“I made one for me too!” Tom cheered. He put his on and the boys sat on the couch. Marco noticed Tom was chewing his sleeves and ripping the bottom of his shirt in an odd manner. As soon as Tom saw Marco staring he spit the sleeve out of his mouth with a little “phat” noise and blushed. “I um… sorry.” Tom murmured. “I have these… I have these feral traits… and sometimes I just do weird animal-like stuff.” Tom explained, blushing. But to his surprise Marco started giggling sweetly.

“I think that’s cute.” Marco told him. Tom flared up red and looked away. Marco did the same as soon as he realized what he had said. The boys sat there stiff for a solid minute until Tom cleared his throat and gathered the courage to say something.

“Y-you think it’s… cute?” he asked. Marco blushed deeper and nodded. “Thanks Marco… I um… I think you’re cute too…” Tom looked away and his voice got quieter and quieter. Marco smiled a little and reached his hand out to be placed gently on top of the demon’s. Tom jumped, but relaxed when he saw it was only Marco. They sat there for a long while more until the carriage stopped. “I think we’re here.” Tom spoke. But neither one of them wanted to get up right then.

“L-let’s just wait a minute.” Marco suggested, holding Tom’s hand a little tighter. It was nice being all alone with Tom, even for just a minute or two. The company was wanted. Tom felt his face become hotter and he nodded. The concert wasn’t going anywhere.

Harry Potter and the Cursed Child Fic: Flower Crowns

3.2k words, G rated

Scorpius and Albus sit in a meadow on a sunny day, make flower crowns, and talk about how much they love each other.

This was basically written just to make up for the terrible angst in my last fic. It’s also a companion piece to @platinasi‘s beautiful art. I hope it delivers pure fluff and great joy.

Thanks to @abradystrix for betaing this for me, despite having spent the day battling inclement Scottish weather. It’s always super appreciated. <3

Keep reading

jessicafuckingjones  asked:

Sarah HOW DO YOU BRAINSTORM PLOTS my mind is a mess of half-baked ideas that wouldn't work

Plots, I can’t help you with so much. Plotting isn’t my forte. But I can maybe help you get half-baked ideas to a fully baked souffle, and the way you do that is by fucking up a lot of souffles to be honest, but I’m here to offer my advise on how you gain quite a lot by fucking up those souffles for a while

SO: margotkim’s patented Idea Development Help Guide That Might Be Useful?™


This is literally the only method I have for coming up with ideas solid enough that I can plot the out: I have one image I want to work towards, and then I work out all the things that I have to figure out for it to happen.


  • and I mean really don’t worry about logic or reason or even if anyone else will think it’s cool, that’s just gonna get in the way at this point. This is working on the image of the kind of strange stories you tell yourself as you wait to fall asleep. 
  • So I have this image I’ve been thinking about of a magic fight that takes place in an old looking gothic church with no ceiling, shattered stain glass, ivy growing up. The columns that lead up to where the ceiling should be lead up into nothing but pure white, outside the windows are pure white, it is clear this place is outside the world we know. Up around the place where the ceiling should be, there’s a winged black shadow. Underneath there’s a man in hospital scrubs in a wheelchair with a shotgun. 
  • Or I have this other idea that I’ve been thinking about, where two characters face each other in a room, and all I know about them is that they are on the same side, they knew each other, but one of them is younger and a wunderkund who messed something up tremendously, and the other is older and their teacher and she has to figure out how to punish this other character who is simultaneous a good person and someone who did something very very wrong. 
    • This image is bookmarked with a line of dialogue from the Walking Dead video game where your character says, “You’re not a bad man, but what the fuck are we supposed to do now.” I bring this up because fiction often inspires other fiction in strange and indirect ways, and you should always pay attention to your influences to use them as scaffolds for your own ideas, which can often mean being inspired to veer off deliberately in the opposite direction. Never underestimate how inspiring it can be to have a model to work against. 

So that is some free association in two different ways there, but it’s super vivid to me. I know what these scenes looks like, and I understand and find interesting the emotions involved. I just don’t why they are happening. 

and actually hold on a sec.


  • I’m sure you have an image where you’re like “badass badass badass” or “SO EMOTIONAL OH GOSH” or “these two characters are culminating their love, also who are they”, but you might think that that isn’t the basis for a story. And listen. You gotta put yourself in the place where you trust your brain enough to follow the random bullshit it spits out. 
  • I used to draw this line in my head between “respectable story ideas” and “random terrible daydreams that make me very happy but no one else will understand”, and that was a bad call because the ideas that make you passionate and make you want to think about them all night are the ideas you should nurture
  • and look
  • the majority of these images start with things like: 
  • because the images that reach past your idea of what a good story is supposed to be to squeeze your heart are the images that drive you to create
  • the ideas that give you utter joy but you think are untranslatable to other people are the ideas that are worth the time to translate
    • writing is a long act of trying to get a reader to see something you are creating out of nothing. 
    • it’s an act of conjuring
    • it’s a pain in the ass 
    • regardless of whether it’s an academic paper or a twelve novel epic fantasy series
    • so it might as well be a pain in the ass you’re passionate about. 

for me, the best ideas are also embarrassing. if you don’t feel a little awkward about explaining it to someone, it isn’t intimate enough to you to be a story that no one but you could tell. 

okay? moving on.


  • church fight scene image
    • for me, the man is the clear entry point into this image, which has almost too many elements to work out. the man is human
      • when working with genre work, a rule of thumb I find helpful: the genre elements should support the character and themes you want your characters to explore
      • if working with people is easier for you than working with genre elements (and genre btw can be romance, magic, mystery, anything, we’ll use genre as a shorthand for “the elements that determine where in the library a book gets shelved”), then build your characters and then build genre elements off that
      • if working with genre elements is easier for you, reverse engineer a character that thematically suits your genre elements that you want to work with
      • realistically you’ll develop both elements together, each organically pushing the other in new directions
      • but it’s easier to start somewhere
      • so let’s start with the man 
    • who is the man
      • why is he in the wheelchair?
        • is he in a wheelchair because of something within the story you are telling or as something that happened seperate of the story you are telling
        • and as a corollary to think about: what about this man did he start this story with and what did he gain/lose over the course of this story
      • where did he get a shotgun?
      • if the man is in scrubs, does that mean he was in a hospital before?
        • was he a patient? doctor? nurse? tech? criminal? 
      • is he equipped in anyway to handle this problem?
      • is he going to be played by oscar isaac?
        • spoiler warning: yes. he is going to be played by oscar isaac
      • what does the man feel at this moment? 
      • what has the man done to get here?
      • how does the man’s external situation reflect his internal? 
        • what can the scuttling shadow thing reflect? why does it matter that he’s in a strange unworldly church? why is he handling this situation with a gun?
        • we sometimes talk about THEMES as this thing that just exists for english majors to write essays about, but THEMES are tremendously useful to writers as well. they ask you “what is this story about?” in a way that helps you construct a world that allows you to explore your answer
        • for example: this story will be about loneliness. the main character will suffer from loneliness. the antagonist will exacerbate their loneliness. the side characters will provide different views on loneliness. the solution to the problem will in some way address loneliness. 
          • which could be something like: a man who isolates himself because he doesn’t want to risk emotional connection with people suffers tremendously from loneliness which only causes him to isolate himself more as he feels less and less capable of approaching people. the monster is something that snatches people from the world without a trace. by the end, the man might very well be the last person on earth, in a place that’s the last place on earth, and now utter isolated, he has to fight the monster alone. 
          • this is a super loose construction, but it’s a beginning 
    • then reach outside the image
      • first, reach outside the image altogether, back into the world of your own head and ask questions like: what kind of plots do I find interesting? what kind of works does this image remind me of? what connections am I making that I don’t unerstand yet why I’m making them? 
        • most useful question for me, because I’m a character girl girst and foremost: what kind of characters do I always love? I’ve got like five stock characters I love in every situation, which one works the most interestingly here? The Reserved Good Man Who Is Punished For Doing The Right Thing? The Badass Character Who Is Secretly A Dork But Also Secretly Has A Super Dark Past? The Normal Person Who Does Their Best Amidst Forces Far More Powerful Than Them? 
          • I plug in different characters I like and see how the image changes
          • I see which one makes me immediately want to know more
    • second, reach outside the immediate image you have to explore what’s on either side of it
      • what happened one minute before this image? and one minute before that? and one minute before that?
        • what happened ten years before that? 
        • how do you link those two times?
      • if the man wins, what’s the next hour look like? 
        • what about if the monster wins?
        • what does it mean in this story to win? 
      • what characters that matter aren’t in this picture?
        • did someone give the man a shotgun?
        • did someone unleash the monster? 
        • is the man fighting for someone besides himself? 
        • who does the monster love, if the monster loves?
    • and literally keep going
      • just ask question after question after question after question after question, because one question will suggest the next, and each answer will create new questions, and the questions that you think to ask will be as informative as the answers you come up with
        • for example for this story, towards the end I started asking questions about the monster winning, who does the monster love, who unleashed the monster, and the wording made me realize that I’m interested in a monster that’s sympathetic
        • but my image is dependent on a horrific monster
        • the combination of horrific and sympathetic, combined with the desolate beauty of the church, is pointing me towards a specific theme and mood that will help me define my story 
  • two people at a table scene (I’ll do this one quicker, I promise) 
    • for human drama, I think instantly on two character types I both love, and how can I put them against each other
    • or what’s a dynamic that I’ve always wanted to see done a different way
      • in this case, I immediately think “the young viewpoint character of any action/genre show who is good at stuff without trying, and their rival/mentor who works really hard at stuff and puts effort in but doesn’t have the same natural talent” 
      • and this is a case of reaching outside the image to the box of things I know I like, because often times making a story is bringing together:
        • new inspiration, and 
        • old loves
    • and then when I think of the trope that interests me that works in this moment, I think of where I have seen that trope, and the ways I have wanted it to play out differently
    • then I think about the setting that would bring this trope out best
      • and this decision is influenced heavily by the things I like
      • the things I like are spies and bureaucracy (babe, I fucking LOVE stories about bureaucracy, which is weird, I know, but is also the thing that Me, Myself, and I bring to this story that most other people won’t)
      • and so this story is now about a younger rising star spy who disobeyed orders on a mission because she thought she knew the right thing to do better than anyone else, and the older more trained and experienced spy who has to deal with her
        • an important element of my story from the beginning is that both women are good people but the younger one has done something Wrong, and to avoid false drama, it has to be something genuinely bad 
        • so her breaking orders on a mission resulted in friendly fire where the younger one accidentally shot and killed her ally
        • and for the sake of drama, let’s say the person she shot and killed was the older woman’s good friend
          • and there’s the beginning of a plot

IT’S SO LONG, I hope this is helpful to you, and here’s the cliffnotes:

  • release yourself from your own judgment and explore the images, tropes, and ideas that make you truly excited
  • and make sure that you are really, really excited about the idea
  • because that excitement is what’s going to power the aggressive interrogation of your own idea that lets you create a truly thought-out, living world 
  • and once you have asked yourself all these questions about your image, you’ll find that your questioning leads you to the themes you find powerful and the actions you find exciting, and this will help you coalesce all these questions and answers into a plot that combines and drives themes, actions, genre, and character  

I tried to draw Red Leader Tord, it turned out terrible but I thought that maybe I should post it anyways…

Sorry, I know there’s a lot of flaws and the shading is very off but here you go anyways. I was going to start my own ask blog but I just kinda gave up. :/

Hope you all enjoy this anyways.

– Thank you anon! It’s great actually! You should make that ask blog if love to follow it! Mod ~ C
A Family for Christmas (1/2)

Merry Christmas to @shady-swan-jones​!  I’m your Gutter Flower Secret Santa! Although I think you figured it out already… Better late than never, right?

Summary: Attorney Killian Jones’s world is rocked when learns that his estranged father has passed away and that he may have a half-brother he never knew about. The very same day, Emma Swan walks into his office asking for his help in adopting the son she gave up years ago -  a child she somehow managed to track down after years in the foster system.  Is it fate? Can they each help the other find the family they are seeking in time for Christmas?

Otherwise known as: I watched too many Hallmark/Lifetime/FreeForm Christmas movies and this is what happened.


“Italian or Chinese?”

“Well I should think he’d be English, obviously, much like my dashing self.” Killian nudged Emma’s shoulder teasingly. “Bloody hell, Swan, what kind of detective are you?”

Emma rolled her eyes. They were two hours into another evening of scouring every corner of the internet for a trace of Killian’s elusive probable half-brother, but yet again the trail had gone frustratingly cold.

“I meant for dinner, wise-ass.”

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Greatest Love Triangle: Part IV

Continued from these:

Part I (Season 8) | Part II (Season (9) | Part III (Season 10)

After many rewrites and one lost draft… here is the fourth and final* part of the love triangle series. This part will focus on season 11, where Cas’s journey has taken him, as well as why I am not quite convinced that the Winchester codependency is actually broken yet despite great steps forward being taken.

Season 11 features a Dean that is more vulnerable than we’ve ever seen, in part because Dean actually allows himself to show that vulnerability. Cas’s storyline for the past 4 seasons finally catches up with him. Sam proves over and over again that he is a strong, powerful, independent person, and when Dean shows signs of repeating past behaviors, Sam doesn’t let him.

This season also has some of the most confusing and convoluted subtext in the history of the show. There are so many parallels, in fact, that it’s completely impossible to tell which ones were deliberate and which were by circumstance (a side effect of working with a writing team instead of singular writers, as well as an apparent change of show runners halfway through the season).

We already have the love triangle of Cas-Dean-Sam, as well as Cas-Dean-Crowley. With the introduction of Amara, we suddenly get two more love triangles in Amara-Dean-Sam and Amara-Dean-Cas. 

In the most meta episode of the season with the two most meta characters ever, we are explicitly told “it’s a mirror.” (Thank you, Robbie Thompson.)

When it comes to parallels and mirrors, this season was a goddamn funhouse.

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Shiro Headcanon: “He’s actually constantly making lowkey references to tv shows and movies but the others never get them - this is mostly because shiro’s delivery’s very deadpan so whenever they think “wait…. was that a quote” - they look at shiro and go “lol nah it was probably just coincidence” - it is never a coincidence. - ACKNOWLEDGE HIM”

(First off I apologize deeply for my terrible handwriting ;A;)

I had to draw out some of @ironinkpen’s headcanons, they’re too good ;0; too pure

Here’s a link to the original post

Seriously all her headcanons are gold please read them

I was in the mood for some fluff. I’ve always headcanoned Nico as being a really good drawer idk. And this revolves around that hc. So, enjoy!

An afternoon sun lit up his skin and made him shine even more than usual, the wind was messing up his hair, the heat had dropped and he was a little chilly, but not too much to be really uncomfortable; it was a relief after the day they had. His duties for the day were over and that meant he had time to do what he wanted. Which was Nico. Okay, that came out wrong. (Not that he would mind, exactly.)

Right now, Will Solace stood in front of the Hades cabin that belonged to the dark-haired, Italian kid. Also known as Will’s boyfriend, which made him feel giddy inside whenever he thought of it.

He lifted his left arm and knocked on the door.

‘Come in’, he heard Nico answer and Will pushed the door open. Nico looked like he might have been lying down before Will arrived, but sat up when he heard the knock. The sheets were rumpled and his hair was mussed. But that wasn’t particularly surprising; Nico’s hair was always a mess.

‘Sunshine’, Will said as a way of greeting while closing the door. He pecked Nico on the lips and sat down on the bed, next to him.

‘I still think that nickname’s better suited for you.’, Nico said.

Will smiled. ‘I don’t. That would be too predictable.’

‘So? Who cares if it’s predictable or unpredictable? Who are you trying to impress?’

‘I don’t know. The world.’ They had moved and now they were leaning against the head-board of Nico’s bed, his head on Will’s shoulder. Nico had made a few changes to his room after the war, which had involved getting rid of the coffins and getting one enormous bed instead.

Will continued. ‘Anyway, we can’t both be Sunshine and since I came up with it, I get to use it.’

Nico huffed, but smiled lightly. ‘Whatever. You’ll just have to settle with ‘loser’ as nickname, then.’

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anonymous asked:

I mean please do own your creative freedom, but personally Shiro shipped with any of the other Paladins does make me a tad uncomfortable. On the voltron wiki he's listed as 25 while Hunk, Lance, and Keith are listed as "upper teen" (so 17-19????) and Pidge is only listed as 14. I guess I can kinda squint and say if they're 19 then it's ok, but honestly the maturity difference is just......I can see where the ships come from, so I'm not gonna tell you not to draw it. Just not my cup of tea.

And that is absolutely 100% fine! 

You are entitled to feel however you want to feel - it is none of my business who you do and do not ship, for whatever reasons you have. I’m certainly not gonna get all up in your business because we have different opinions about fictional animated characters and come banging on your door in order to force you to look at pictures of them together. 

And the reverse should be the same, but unfortunately I’ve seen multiple instances in this fandom where it is not, where people have actively gone after artists because of the very reasons you’ve mentioned, yelling about how they’re wrong and should stop drawing them together immediately. That kind of behaviour makes me super uncomfortable.

(That’s not aimed at you directly, anon. You’ve been very polite.)

As far as I’m concerned everyone is responsible for their own browsing experience. If someone doesn’t like or enjoy something, the onus is on them to use the numerous tools at their disposal to filter out that content rather than harass the people that create it. 

So far this has been the only message I’ve received on the age difference in Voltron ships. As you can probably tell from the picture I drew, I’m not particularly bothered by it when it comes to these three. If it is a problem for you, then I invite you to either unfollow or blacklist the “shklance” tag, which I will be sure to use if ever I draw more of this trio together. 

Bear in mind that Haikyuu!! is still my main fandom and Voltron fanart will be few and far between assuming I decide to actually draw more!

If I get any further messages on this topic they will be deleted because I have no desire to enter into a lengthy discussion about it.

as an aside whoever came up with the ship names in this fandom should be ashamed of themselves what kind of hot mess

@shamise Bitty Slifer has been on my very long list of things to draw for a long time. My cat will actually sleep this way when she plops herself in my legs, all twisted and sprawled out, and stay that way for at least an hour. So I thought it perfect for Slifer. The only difference in my cat isn’t a trap cat and she’ll let me scratch her tummy lol

not too bad as far as productivity today considering a terrible past week lol. Can’t promise anything for tomorrow, but I do need to dig through my likes again. Didn’t want to reblog everything at once; I’ll do a repost of my stuff today later for the morning crowd as well. This is it for the night~ Also I have not forgotten the prompts I still have. I will eventually get back to them, but they’ll get done slowly.