this one was actually kind of easy because he has so many good moments

Truth or Truth

Requested anonymously: A one shot where the reader has never been able to orgasm through masturbation. When Dean finds out, he offers to help.

Warning: smut, masturbation

Word Count: 2300

A/N: Hope you enjoy, anon! XOXO

“Truth or truth?” Dean asks, grinning a little sideways in that way that lets you know he’s just the right amount of drunk.

Truth or truth is the game you play when you’re both feeling a little wound up, needing to blow off some steam. You’re too old for stupid dares and too nervous for dares that might actually make you touch each other, so you settle for sticking to truths. It never amounts to anything, but you both enjoy the sexy words said in the dark as you lie together on one bed, a bottle being passed between you, like you have a life and a personality outside of monsters.

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Klance - soulmate au

It happens for the first time when he is five.

He’s lying in bed with a cold, eating the chicken soup his mother made him, when he suddenly hears a bunch of children sing.

Lance recognizes the song immediately. It’s one of those they make you sing in kindergarten. He drops his spoon into the bowl and calls for his mom excitedly.

His soulmate must be around his age.


Keith almost falls off his bike from giggling.

He’s on his way home from school when his soulmate listens to some song about butts. It’s form him, he knows that.

It’s not what they usually listen to and it’s become kind of a habbit. They will listen to something with really weird lyrics at the most unexpected of times just to make Keith laugh. His parents find it a bit inappropriate at times but Keith doesn’t mind. He can feel his soulmate’s amusement each time and it makes him laugh even harder.

He likes to think about what his soulmate must be like. They mostly listen to pop-rock but sometimes classical music too. Keith likes it. It’s a nice contrast to his own undefinied taste in music. He also hears a lot of wedding and birthday songs so they must have a big family.

Their lives seem to be quite different but Keith likes to thinks that they complete each other.


Lance finds his soulmate’s taste in music weird. It’s not that he doesn’t like the songs, so far he liked all of them in some way. But there are so many different genres. He’s sure that his soulmate is one of those people who listen to everything as long as it sounds good in some way.

He keeps playlists. One playlist for every year since he turned 12. There are a lot of songs in them and they’re taking up a lot of memory but he refuses to delete anything.


When he’s 14 Keith is on edge. There have been no songs for over a week and he is starting to freak out. His soulmate usually listens to music every single day, so when there are no songs at all for that long… something must be very wrong, right?

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a long post about the message of the blurryface era

all the blurryface music videos (and heathens) seem to be pretty different from the rest but all of them have the same theme, which is that connection with friends is the best way to cope, and no one is really alone.

heathens/heavydirtysoul - these two music videos parallel each other closely as i talked about in my last post. both start with tyler in a dark and unfamiliar place. he is sad and withdrawn. then, he sees josh. josh is drumming furiously and doesn’t notice tyler. 

in both music videos tyler is represented by dark motifs (rooms, clothes, etc.) while josh’s motifs are glowing and bright. heathens - he’s drumming on a glowing box, which eventually becomes the stage on which he and tyler play. heavydirtysoul - his drums spark flames with every hit; they grow larger and eventually consume tyler as well. 

both videos reach a climax in which tyler and josh interact with each other for the first time. the light (heathens) and flame (hds) grows to a blinding maximum and the two are rocking out together. josh is no longer ignoring tyler. tyler is no longer withdrawn; he is interacting with josh and for the moment his anxiety is gone. it’s a release but it’s not a painful one. he is coping. 

and then in the end everything is back to normal - no yellow suit, no light, no flames. tyler is still there alone. blurryface is as present as ever. and the implication is that he has imagined josh. this is why josh didn’t notice tyler both times. he was merely an attempt for tyler to find someone to relate to. a cathartic figment of imagination. an imagination of light that tyler hasn’t found yet. 

and what these songs mean in relation to the videos is clear. “all my friends are heathens” - there are so many people here going through the same thing as me, and while the general public considers us freaks, we are all here together and ready to stay that way. “can you save my heavydirtysoul” - implies desperately trying to find a way out of the situation. imagining salvation so fervently that it manifests as almost reality. salvation, here, is josh and the flames. 

lane boy - this one is kind of similar to heathens and heavydirtysoul in that it starts with tyler, alone and contemplating, in the dark. but this time he’s worried about what he has done to become successful, and whether it’s good enough, and whether fame will change him and limit him. all these worries are new to the band, because they’re at the beginning of their rise to fame at this point. and in the video the dark road in the woods symbolizes that they’re in the dark and they’re being careful. stay low they say. 

and then they’re playing on a stage, and everything is forgotten, and they REFUSE to stay low. if you notice in the video the moment tyler sees josh on stage, that is the moment he breaks his silence and starts to dance. to me this video represents that even though not everyone in the crowd might like what the band is doing, and even though there are critics behind that stage and out in that world, being able to play in front of thousands, together, tyler and josh, is worth it. at the end of this video is the realization that having each other means much more than success. 

stressed out - i think this video illustrates the point the most obviously, but it does a great job handling the dichotomy between wanting to grow up and not wanting to grow up. obviously tyler and josh would rather hang out with each other, with no responsibilities, and make music without having to worry about how it is going to be received. and part of the music video is the deliberate denial of reality, and the fantasy of regressing into teenagerhood. but the last part? that’s the acknowledgement that they’re not always going to be kids and life will not be easy. tyler is walking down the street, alone, and without the backpack and the tricycle. this is a sign he’s maturing. and blurryface, he’s there too. i think that entire scene is representative of coming of age.

ride/fairly local - like heathens and heavydirtysoul, i think there’s strong evidence these videos parallel each other. both take place in an isolated location and make use of very polarized (no pun intended) environments. ride - the daytime and the nighttime. fairly local - the icy house and the red hallway. 

so in ride, i think it’s really important that the verses and the bridge take place at night. this is where tyler is doing all his worrying. he doesn’t know what his place in life is and what his relationship to others is. who would you live for, who would you die for, would you ever kill? he’s overanalyzing. he’s in the dark, both literally and metaphorically, about everything. and he doesn’t know where he stands with anyone. he can’t see. he’s wearing dark glasses at night. josh is nowhere to be seen. and then the chorus is where he lets up. he acknowledges that there is a lot to worry about and a lot to analyze over, but he can still enjoy his life. even though he’s hurling through the unfamiliar course of life he can still take the time to look at the things that he loves. and the light comes on, and he can look at the beauty that’s around him, and he can see that there are people and things that mean a lot to him even though he’s questioning it all. 

and then we have fairly local, where the majority of the video takes place in an icy house. the whole video seems very disconnected from the rest of the world. it’s freezing and desolate, both tyler and josh seem to ignore each other, and their demeanor is cold and apathetic. they’re trying very hard to remain unemotional, closed off, unable to see the damage they do to themselves and others. but that denial of their own feelings - that’s where blurryface manifests. he’s what’s causing their isolation, he’s there in the red hallway, changing into something darker and darker as tyler and josh continue to distance themselves.

and a thing i like about fairly local is that the quiet and desolate atmosphere of the video completely contradicts the lyrics of the song. “im fairly local, ive been around, ive seen the streets, youre walking down.” “the few, the proud, and the emotional.” he’s talking about the fanbase, and josh, and jenna, and everyone he’s been able to connect with. and the sense of group mentality and empathy are completely antithetical to the cold, quiet video that they represent breaking out of that atmosphere. 

tear in my heart - this one is an oddball. all the music videos from this era have the common thread of using human connection as a symbol of coping with blurryface. most videos choose to represent that with the relationship between tyler and josh, but this video uses tyler and jenna instead. i think the content of the video is pretty straightforward, and a lot of people have dived into this theory, but the scene in which jenna beats up tyler is important. a common interpretation is that this scene actually represents jenna beating up blurryface. blurryface doesn’t give up without a fight, of course. wrestling with such a character, such a deeply rooted part of your thoughts, is going to cause some distress. there is pain involved in battling your own mind, but the pain is a sign that you are able to fight, that you’re doing it. sometimes you gotta bleed to know that you’re alive and have a soul. but it takes someone to come around and show you how. jenna and tyler’s love for each other is what gives tyler the power to challenge blurryface, but he won’t be able to do that without some pain involved. 

and now i think i understand why blurryface is the name of this strange part of everyone’s brain. the literal opposite of the word blurryface is of course clear face. as in being able to see people’s faces clearly. blurryface is the opposite of seeing people for who they truly are. blurryface is the opposite of joining people who are fighting the same battles as you and really connecting with them. the opposite of blurryface is friendship and truth, and we must always find comfort in the fact that we are not alone. there are always people out there for you. and that’s how you defeat a demon. 

Figure Skating Charms and a Wealth of Nuance

Haha…so…*guiltily posts this months later* I had this in my drafts 70% completed since episode 10 came out, but with episode 11 and 12 the fandom exploded on other issues, and I thought it was kind of irrelevant since the rings have so many layers of meaning already. But in PASH magazine’s March issue, Kubo-sensei actually brings this up. 

I ended up cleaning this post and after finding out that @sachiro​ was going to make a similar post, we decided to have “pair posts” to submit for victuuriweek. You can read their yoi meta here , which discusses and connects specific moments throughout the series to the points I’ll lay out in the second half of this post.

About Yuuri’s charm. Yuuri has a figure skating precedent for buying jewelry to act as a charm - it isn’t a blasé “lots of good stuff around here…yeah, rings can make good charms, right? idk, but I’m doing it anyway.” Here’s yet another layer.

Charms are a legitimate THING in figure skating.

You won’t read about this in figure skating intros or on Wikipedia, and you won’t hear commentators talk about it either (if it’s brought up, consider it a stroke of luck and immediately save that video/interview forever). Unless you follow skaters to the point of knowing about their personal lives, then this is one meaningful aspect of figure skating that is easy to miss.

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Toxic Idol Culture

Anyone who’s followed me for a long time knows that I have… my issues with idol culture. I know this can possibly sound ironic considering I’m very popular here but at the end of the day I can’t help that so bear with me.

The reason I say “toxic” in the title (asides from being a strong word that immediately conveys a message) is because I’m addressing a specific subset of idol culture where people will vehemently defend someone’s horrible actions simply because they have a large following and/or pretend to care about topical issues like social justice and trans-rights (the latter being extremely important to my family, my friends, and recently myself).

It’s a shame because tumblr in general does seem at least somewhat more clued-in on how people abuse power (this ranges from world politcs to small corners of youtube), but this knowledge never seems to be applied to tumblr itself. There’s a cycle here, where someone is given disproportionate about of praise for arbitrary things (being a feminist, anti-nazi, or mildly funny, etc - all fine things on their own but hardly noteworthy), they get cocky and play into the role more, then start abusing others (doxxing, harassment, etc, usually of minors ironically enough).

This is partly why “funnymen” being outed as legitimate perverts and pedophiles is becoming increasingly common (or, at best, don’t believe the stuff they pedal out). Ultimately, it’s the person in question’s fault for being a scumbag of course, but tumblr’s unnecessary idolization of people who simply don’t deserve it has a large impact on what these people think they can get away with.

A large reason why this seems to happen is because nobody here seems to want to ask questions. A perfect example of this is when I receive messages warning me about an OP of a post being disgusting in some way, but when I investigate it turns out to be false.

However, it’s hard to fault anyone particularly for being a little bit gullible because ultimately we all want to be part of something. We all want to be liked, loved, and acknowledged. Asking questions, or otherwise being “difficult” can harm this so sometimes one might feel safer by saying “ok i’ll delete the post” rather than “can you show me some proof?”

It’s also a shame because, memes asides, tumblr is a pretty enjoyable website. At the moment of writing, there isn’t anything quite like it, but the experience is marred by people (and their imitators, especially) looking for cheap notes by exploiting serious political issues, where it is nearly impossible to say anything outside of ineffective self-indulgent feelgood “activism” without someone aggressively hating you for it.

For a website that houses a lot of people who claim to want to protect minors/transfolk/etc, there’s a startling neglect of how these people can be taken advantage of by the very same blogs that claim to help them. Anyone on this website can say anything but to actually practice what you preach is an entirely different story.

Interestingly, this is why you get certain “Hellsite” moments like someone complaining about getting hate after telling someone to kill themselves, or people posting things like “just be nice but also fuck [inoffensive group of people]”. Anyone who’s followed my blog for a while (or even just pays attention a little) know that this is hardly a rare occurrence. I think the term for this ‘cognitive dissonance’. This stuff makes good joke fodder, but it’s pretty sad that this stuff happens in the first place.

Toxic idol culture isn’t contained to just social justice circles either. Even opposite groups have become victim of this (maybe they always have, in retrospect). You may know that an ex-friend of mine recently shared suggestive photos of a 16 year old. Long story short, me and a lot of others were uncomfortable with this and promptly dropped them but I was mortified at how many anti-sjws came out in this dude’s defense over something that can only be considered objectively predatory and creepy. The person in question used tumblr’s liberal usage of bold accusations to wave-off what he had done, and his followers ate it up. It served as a important reminder that you can essentially get away with anything, as long as you have a significant follower count and frame your dissenters in a harsh, unrealistic light.

To anyone that defended/defends this guy, you should be ashamed of yourselves.

Some are not above co-opting important social justice issues for internet points. A lot of time, it’s merely an avenue for them to be the very bullies they once hated but since it’s masked, the bullying is often ignored or encouraged. It’s easy to call someone a transphobe for an arbitrary reason, but it takes a considerable amount of effort to actually help a trans person in need. We should be doing more to support people who do the latter, rather than the former.

Anyway, the point of this post isn’t to make you paranoid, or to hate anyone with more than 3k followers (popular blogs make easy enough targets for hate anyway), but just to be a little more cautious and a little more critical of these kinds of people (who will inevitably get mad at this post and make passive-aggressive vagueposts about anyone who agrees), and to generally stop glorifying hateful blogs who’s main shtick is attacking people.

I realize, in the grand scheme of things like social justice and such, this is a small slice of the pie, but this is definitely something that needs to be thought about more.

BNHA Light Novel No.2 Trans

Chapter 4, AB Union: A Girls Only Gathering Part 2

[Part 1

t/n this has to be my favourite part of the chap, everyone talking about the boys and their boyfriend potentialness lol ahhh <3 p.s sorry if this a little short of a part!

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Courage

Requested ages ago by @grace-for-sale​. Hope you like it!

Summary: AU in which Dean and Cas are both high school teachers. Dean has a crush, but no courage to do anything about it.

Word Count: 1600ish

Warnings: None. I wrote something without smut. What??


“You’re late, Mr. Winchester.”

“The bell was literally ringing as you said that, Lydia,” Dean smiles. “I think we can all let it slide.”

Lydia smiles back and starts sharpening her pencil in the sharpener by the door, where she’s clearly been waiting for him. “I can let it slide,” she agrees, “since you were just out there talking to Mr. Novak.”

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anonymous asked:

Since you brought up the sort of myths with fandom vs what you've seen in tv... I'm sure you've seen in probably all fandoms, there comes a time when a collective comes together to say that something is/isn't happening because of "X movie company" or "management". So my question is - from behind the scenes, how much of that is actually true? Like are there people really holding the strings like that? Or are we going crazy? 😳

The answer is it’s complicated.

Also, you’re not crazy.

Let me start by comparing TV writing to book writing. I just wrote a book, and I only got creative notes from one person, my editor. She does two rounds of notes with me (a general edit and a line edit) and then passes me off to the copyeditor, who gives me grammar and spelling and continuity notes. Then it goes to print! Easy peasy! (Well, not easy at all, it’s a lot of work, but very straightforward.)

Compare that process to the TV writing process. Every Rdale script is broken (meaning: figured out) in the writer’s room, where there are 11 writers plus Roberto, our fair boss and Showrunner. We all chime in with ideas and suggestions and Roberto decides what direction he likes best and chooses the pitches that work best until we have a working outline. Then we put the scenes onto notecards, moving them around, re-breaking, rejiggering, until the story works. That’s a lot of hands stirring the pot so far, but we have one head chef: Roberto.

Then we write an outline, which gets notes from the producers, the studio (Warner Brothers), and the network (CW). Then we adjust based on those notes, which come from a few of the execs at each company, who are smart and very good at their jobs, which involves reading and analyzing TV scripts from many shows and deciding what works well for them. They’re drawing on their whole careers-worth of experience doing this on lots of different shows to figure out how to guide the direction of Rdale.

Then we go to script. The writer of that episode takes the very detailed outline and starts writing scenes. Sometimes s/he might farm out some scenes to other people in the writers room, or sometimes the room will move on to the next episode and leave that writer to write solo.

Then the completed script goes to Roberto, who does a pass on it to make it sound like his vision for the show, and feel like the characters he has in his head.

Then, when he’s happy, he brings it back to the writers room and we all read it and go through it page by page together to revise it and give notes. At this point, Roberto has the script open on a computer in front of him, and he changes dialogue, action lines, scenes, etc. live as we give feedback.

Then, the script goes back to the producers, the studio, and the network, to get notes from them. Sometimes those notes are minimal, and sometimes they’re major, it all depends. The writer and Roberto make revisions based on those notes. Sometimes we have to go back to the room and rebreak as a group, but usually not.

Somewhere along the way, someone at Archie Comics reads it to make sure we’re taking care of the characters they’ve had and loved for 75 years.

At some point, someone in a legal department reads it for clearance, which means sometimes we can’t use certain brand names in dialogue or else we’ll get sued, and we can’t use certain people’s names unless they’re in the public eye.

Also someone in some department reads it to make sure we aren’t swearing too much or referring to something too vulgar or the FCC will fine us.

Then the script is sent up to Vancouver where production reads it and starts pre-production. Sometimes there are changes to the script at that point because we can’t get a location or we can’t get an actor because he’s booked on another series, or the weather won’t allow us to shoot somewhere, or we have to move an outdoor scene indoors, or a night scene to day for budget reasons. Revisions are made here. The actors read it, and occasionally they’ll have notes which require revisions.

Then it gets shot. Then the footage is sent to post-production, who starts to edit it. In the edit, frequently we’ll learn that our episodes are several (maybe many) minutes over, and we’ll have to cut lines, jokes, moments, sometimes whole scenes for time.

Then those rough cuts get sent to the producers, the studio, the network for notes.

You get the idea yet? There are lots and LOTS of hands in the pie here. Hundreds, maybe a thousand. If a certain idea isn’t making it through from initial pitch to the final screen, it could be any one of the people along the way raising a red flag. Usually there’s no grand conspiracy – there’s too many people with competing interests for that. If you find that you’re less than satisfied with something on your screen, it could be for the devious reason you suspect or it could be for a completely benign reason like budget or schedule. There’s no one grand puppetmaster holding the strings, but there are lots of people making changes along the way.

tldr: There are too many companies and too many people for any kind of grand conspiracy, but that doesn’t mean that a bunch of people giving tiny notes couldn’t add up to something bigger.

Secrets

Requested. (This was a little bit difficult for me….hope it’s up to par D:)

Song or Quote : Love is unselfishly choosing for another’s highest good.
Who: Peter Parker

Peter sulked behind Tony who led them to an old diner that miraculously was still standing after everything the city had been through. He was dreading what was going to be said to him once they finally sat down. Peter had messed up, bad. Tony ordered a black coffee and a cherry turnover while Peter just stuck to a chocolate milk. He didn’t even want anything but Tony insisted he get something. The silence was painful and seemed like it was never going to end. 

After some time of watching Tony eat his turnover, Peter finally decided to break the painful quiet. “Look, Mr. Stark, I just, I need, I want to apologize for not being on my A game tonight.” 

Tony chewed for a minute, staring at the teenager before swallowing and deciding to respond back. “Mind telling me why I almost got my head ripped off and your body almost getting torn in half? This isn’t some game, kid. It’s real life and real life means real danger and real danger means broken bones and dead bodies. When I bring you along to these kinds of things, I bring you because I need you. Just because I’m Iron-man doesn’t mean I can do everything which is something you will never hear me say again.” 

Peter bit his lip, shaking his head. Trying to find the words to justify why his mind was not where it was supposed to be. Stuttering and tripping over his words, he bowed his head and mumbled, “I’m sorry, Mr. Stark. I, it’s, I, my-”

“-just stop.” Tony sighed, running a hand over his face, he inhaled deeply. This was a kid sitting in front of him, just a kid. A kid that was fortunate to have these abilities and unfortunate at the same time because he was stuck with them. Looking at Peter, he asked calmly, “Where was your mind at, kid? Why weren’t you focused?”

Peter refused to meet Tony’s gaze, he didn’t want to admit why he had been spacing out. Because, he knew that lives were at stake but the guilt of cancelling his date with [Y/N] for the fourth time in a row was eating away at him. He desperately tried to keep his crime fighting life as Spider-Man and [Y/N] separate. He didn’t want to put that burden on her, constantly being worried whether or not he was going to make it home or not. It wasn’t fair to cause stress when he could just avoid it and keep his Spider-Man life private. 

Sipping on his coffee, Tony sternly spoke. “If we’re going to be working together, we’ve got to be honest with one another.”

Again Peter didn’t respond, he just didn’t know how. 

“What was so damn important in that brain of yours that made you forget about your life for one split second?”

Peter toyed with his hands, shrugging his shoulders, getting frustrated with himself. “I don’t know, Mr. Stark. I just, I spaced. I know this is important and that I should always stay focused but, I just, I-”

“-Peter, listen to me, and you listen good. I see potential in you, please for the love of god don’t make me regret my decision.”

Peter frowned, looking down in his lap, he toyed with his fingers again. “I’m seeing this girl, [Y/N], Mr. Stark. I have been for awhile now and I kept it a secret because I don’t know, I want to keep my personal life for just me. And I don’t want to drag her into this life because well, she doesn’t need to be apart of it.” Looking up at Tony, Peter sighed. “I’m still a kid and I want to do kid things like go to school, see her in the hall and think to myself, ‘wow, she’s so beautiful,’ and then meet up with her at the lockers and talk about how her day has been going. Go on dates, have awkward moments on those said dates, struggle to find the words to say when I find out that I love her.” Peter ran both hands through his hair, “Tonight was the fourth night in a row that I’ve cancelled on her and I’m just afraid that she’ll leave me and I don’t want that because when I’m with her, I feel good. I feel great, actually. I feel normal, I feel like just a normal kid and it’s an escape from this double life I’m living-which don’t get me wrong, Mr. Stark, this life is nice too because I feel like I’m making a difference in this world but sometimes I just need a getaway and [Y/N] is my getaway. Wait…what are you doing?” 

Tony mumbled under his breath, “I may have bit off more than I can chew.” His focus was completely focused on his watch, his fingers were hovering over a holographic keyboard as he toyed with it. In seconds [Y/N] social media profile was hovering in the air, “Is this? This is the girl you’re seeing?” Tony seemed impressed, “She’s cute.” He looked up in time to find Peter’s horrified stare, ignoring it, he skimmed through her pictures and interests. “Very cute, aw, well isn’t this sweet. Is that the Statue of Liberty? It is, isn’t it. Hm, let’s see ‘Peter took me to see Lady Liberty today!’ Oh come on, man. You took her to see the Statue of Liberty for a date?” 

Still stunned that Tony had [Y/N]’s social in his hands, he swallowed. “Uh, yeah, she, uh, she’s always wanted to go and I thought, you know, I should, wait why are we talking about this right now?” He wanted to get off the topic of [Y/N]. There was a reason why he kept her from Tony despite knowing that he could easily get onto it. 

Waving his hand over the floating images, they vanished. Toying with the keyboard some more, another image popped up over his wrist. Swiping the images, he nodded in approval. “She’s a smart girl. All A’s and lookie here, she’s in three AP classes. How old are you again? How does she have the time for this and you? These are some impressive scores, probably the highest in your grade I take it. Let’s just see, oh look, she does with you being right behind her.” Waving his hand again to make them disappear, Tony leaned forward. “Okay, look, I get why you’re head over heels, puppy dog in love with her. She’s a cute, smart, very smart girl.” 

“Did you? Did you just hack into my school’s grading system to look at her grades?”

Waggling his finger, Tony narrowed his eyes. “Ah, no changing the subject and really? You have to ask? I’m Tony Stark, I could get into this rinky dink diner’s security system and shut it down.” Clearing his throat, “Listen to me, kid. Love is unselfishly choosing for another’s highest good. You put your life at risk tonight because you were too busy worrying about her. But you know what, I get that, I get you want to protect her from this double life thing your living. I get it. But what you don’t understand is that keeping her from this, is only making it worse for you and her.” 

"I can’t just tell her I’m Spider-Man! She’ll freak out and if she freaks out, I’ll freak out. Her and Aunt May are very similar in their freaking out episodes. I have to keep it a secret.”

“You know, I’ve heard girls date men that resemble and remind them of their fathers but I’ve never heard boys dating girls that remind them of their really attractive aunts.” 

Peter narrowed his eyes, “I never said [Y/N] reminds me of Aunt May, I just said they freak out the same. But yes to some degree, I guess you could say they have similar qualities-but that’s besides the point! I am not telling her I’m Spider-Man.” 

Tony rolled his eyes, sighing dramatically. “When you have someone that means this much to you, you want to protect them and only them. I’ve been there, kid. You want to make the world a better place for them but the thing is, is when you step foot into that suit. It’s not just about them, it’s about everyone. You have a responsibility to save as many people as you can. And when you’re all in love and what not, you lose sight of that responsibility. Prime example was tonight when we almost died.” 

“So I just what? Break up with her and suffer? Because I don’t think I can do that, Mr. Stark. If anything, it’ll make my concentration worse.”

“I’m not saying that. What I am saying is you have a responsibility to save as many lives as you can without losing your own. You’re young, you’ll find other [Y/N]’s, if not better ones.”

Peter squinted his eyes, shaking his head. “No, I won’t. There’s no one like [Y/N]. No one.” 

Tony half nodded, understanding the firm point the teenager had. Sighing, he rubbed his forehead, “This job isn’t easy and you’ve got a long way to go before these instincts start to feel like second nature.” Glancing out the window, his eyes caught sight of a familiar face among a crowd of kids about to step foot into the diner. “Word of advice, Parker? You should tell her what you’ve been up to. Because one thing I will say is that despite my distaste for love, that kind of girl is not the kind of girl you let slip away from your fingers over something so irritatingly silly as not telling her who you are and what you do.” Throwing down some money, he stood up and winked at Peter before saying, “Because a few years from now, I may scout her to work for me and that’d be so unbelievably awkward to work with her after you were an idiot in not telling her.” 

“Wait, where are you going?”

“Out the door to my lavish expensive penthouse where I can take a wonderful lavender bath.”

“Peter?”

Peter spun around, frozen in place to find [Y/N] standing behind him. Struggling to stand up, his knees banged the underside of the table before scrambling out of the booth. [Y/N]?! What, what are you doing here?” 

Raising a brow, she eyed Tony suspiciously, “I could ask you the same thing…”

Tony smiled, “You must be [Y/N], Peter has told me so much about you. Sorry about having him cancel on your date but I really needed to finish up some finishing details on his entry for the September Foundation.”

“At a run down diner?” She asked, not really believing in his lie.

“You know what, you, my sweet girl, are a lot smarter than I had been told.” Moving around her, he headed for the door. “Peter will telling you everything you need to know.” Winking before leaving the door, he chuckled to himself as he left Peter looking frantic and nervous. 

[Y/N] crossed her arms, “Peter, what is going on? I thought you said Aunt May wouldn’t let you go out tonight. And why the hell was Tony Stark in this diner with you? And, the September Foundation? What is he talking about?”

Sighing, he reached for her hand, “We need to have a long talk about all of those questions but not here.” 

Crash

@talortut​ asked:  Hi! I love your blog <3 If you’re still taking requests, I would love to see some sick/hurt/exhausted/whatever Lance with the line “You’re gonna crash" from the starters. :)

((Thank you for the prompt SOMEHOW THIS TURNED INTO A 2400K LANGST/ KLANCE FIC BUT LMAO))

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grey zone | (m)

Originally posted by beagletae

• pairing: kim seokjin x reader
• genre/warnings: angst, smut, fluff
• words: 10,481
→ summary: you and Jin used to date, but things ended pretty quickly, realising that maybe you guys weren’t meant to be. Over the past couple of months, he’s had to watch you with another guy, knowing it wasn’t right. However, what can he do when he’s stuck in a grey zone… he knows he too, isn’t right for you, but all he wants is to hold you…?
• note. inspired by grey zone, but I was listening to clairvoyant on repeat a lot too. 

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Anon: can you do an analysis on 2013-2014 ji/kook please? thank you!

Anon: Do you think there’s a relation between Jungkook’s change of behavior towards Jimin from when he was underage to when he finally turned 20??? I feel like after finally not being underage anymore, that’s when he really changed and got bolder, shy-less and stuff.. He wasn’t like this, and now he’s.. Well, basically killing us with everything he does.    

Anon: Do you think that Jimin’s fainting incident was a turning point for kook/min? I always thought that JK seemed to be a lot sweeter and softer with Jimin after that, but i could just be imagining things so I wanted a second opinion :) love you!!                    

Anon: you are my favourite kook/min blog!! kekekeke i was wondering what you think of tsundere!kook thinking that taking off his jacket for yoonji is cool when he did the same thing for jimin during their WoH shoot :))) 

That’s right: I’m going to answer all these questions and comments in one long essay. I’m not kidding. This is like.. really long. It’s Jungkook-centric and head canon-heavy. Bring your tinfoil hats.

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anonymous asked:

Kim falls asleep on Trini. Trini is a useless gay and afraid to move lest she wake up Kim. Ensue the teasing from the boys.

Combining this with:

One of them fell asleep in the pit so they get a rude (or sweet) wake up call (via anonymous)


“There’s no way that you’re comfortable right now.” 

“I’m comfortable.”

“You sure?” 

“Mmhmm.” 

“Because you don’t really look all that comfortable.”

“I’m comfortable.”

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anonymous asked:

I'm having trouble because I have a number of characters that I need to introduce pretty early on and I'm not sure how to do it without just having them all introduce themselves. None of them have ever met or heard of each other before the beginning of the story. Any advice?

Character Introductions

Greetings and salutations! We’re going to talk about character introductions, but before we do, I’m going to link two posts off the top of my head where we’ve discussed this before. Check out these two posts for some additional information if you’d like it. Regardless, I’m going to go in depth here on some great strategies for mass character introductions. 

Penney on Character Introductions

Rebekah on Two Characters Meeting for the First Time

Evaluate the Necessity of Each Introduction

Our anon mentioned that they needed to introduce all these characters pretty early on, but let’s stop and analyze that need for a moment. When you’re trying to decide if a particular event or detail is needed early on in your story, ask yourself the following question:

Do these characters (or facts/details) I’m introducing play a key role in the action of the beginning scenes? 

Make a list of your first few scenes (include brief summaries of the scenes), and look at who the key players are. Imagine you have a character that is being paid to steal something, and they’re in the process of stealing it. The conflict in the first scene is their success/failure to steal said object. The person who hired them to steal it is unimportant in this first scene. Yes, mention that your character was hired by someone to do this, and maybe hint at a general consequence if your character fails (”He’ll kill me if I fail”) but avoid an in depth description of this “boss character” and the nature of their relationship until later. The only thing that matters right now is whether or not your protagonist is able to steal this object.

Regardless of what happens in the first scene, your protagonist will need to return to this boss character and either give them the object they stole or inform them that they failed. This is the point where you start to describe this boss character - what they look like, what their demeanor is like, what they’re willing to do to make their point. It may be the point where you go into the backstory of your protag’s relationship with them, but it may not be needed even now. It may be that this backstory isn’t necessary to know until 2 or 3 scenes later on when we start to wonder why the hell our protagonist is putting up with this boss person’s insane orders and methods. 

The key point when it comes to exposition - make readers wonder about it before you tell them. Giving a reader all the information in the first chapter often results in a reader learning things they don’t even care to know yet.

So the first thing to do before you start introducing all your characters, is to decide which characters are involved in the actual events of the story in these early scenes. It’s likely that some of the characters need only a brief mention at this point (not a full intro), or perhaps even a postponed intro until a chapter or two later. 

In the case of our anon, none of their characters know each other, so it’s necessary here to ask yourself why they all need to meet at this particular point. Can Character A meet B in scene one, and then meet C, D, and E in scene three? 

If you feel like they all have to meet at once, because they’re all part of a group or something, then choose one or two relationships to focus on first. For example, when I start a new job, I take in everyone’s names at once but likely only remember a few, and the few I remember are because I end up talking or working with them 1-on-1 first. So decide if you’re able to generalize some of the introductions early on and focus on one or two character interactions early. It doesn’t mean those generalized intros are insignificant characters - it simply means we’ll get to them later when they become relevant. If this point seems valid to you, definitely read Penney’s post. 

Make Each Intro Significant and Memorable

I make this point in the post of mine I linked, but in this case, there’s a little more to it than what I discussed. When a character is meeting a lot of other characters, each introduction should include more than just “Hi, I’m Rebekah.” A detail should be included that we’ll remember, or something should happen that becomes significant. 

In Big Hero 6, Hiro meets four new characters in one scene (five if you include Callaghan). And each introduction includes not only a name (a nickname actually), but also showcases the area of science they each specialize in, because they’re each fussing with their projects as he moves through the room. Because he’s meeting them while they’re in the middle of work, we also see some characteristics about how they each operate (Wasabi getting upset when his “system” is disrupted by people grabbing his stuff). And rather than one big mass introduction, (”That’s Go-Go over there, and this here is Fred, and oh that guy over there is Wasabi”), Hiro meets each person individually, though still in one scene. These are formal introductions, but they work because they reveal something memorable and significant about each person, and it’s easier to keep track of them.

If this were a novel rather than a movie, this would also be a good place for Hiro to relate specific details about each person to his own life. If one of them reminded him of someone (whether it’s someone he knows, or a cross between two famous characters/celebrities), or if he’s initially intrigued or put-off by the character. For instance, Hiro later has an overflowing wastebasket full of discarded ideas, and this kind of mess might be something a super organized person like Wasabi might be driven insane by. So when they meet, Hiro might think something like, “Wow, if he’s frazzled by this kind of chaos, he better not set foot into my workshop.” I’ve exaggerated a bit, but I want to show an example of your opportunity as a novel writer versus a script writer. Pick on little details and show how the details affect the character that’s meeting them. 

Use Distinguishable Names and Create Associations

If at all possible, choose names for your characters that are easy to keep straight. Try to avoid having too many character names that start with the same letter, or have similar sounds to them. That’s no need to have a Danny D. and Danny C. situation here, or even an Ashley/Amber situation. You have control over your characters’ names, so pick names that are easily distinguished from the other characters’ names. 

Also, with a large cast, let readers form associations with a particular name that they won’t forget: 

  • “Noah was a ‘no-nonsense’ kind of guy.” 
  • “Shelley had a shrill laugh, and she was easily amused (and easily startled) so you heard it quite frequently, even across the room.”
  • “Ricky was the risk taker of the group. Not because he was brave or anything, but because he never thought things through.”

Let’s review:

  • Noah = no nonsense
  • Shelley = shrill
  • Ricky risky

These adjectives serve as subtle mnemonics that help to build associations between names and descriptors, and it’s the type of thing that a reader will remember without realizing that they’re remembering it. 

Mix and Match for Variety in Interactions

Depending on the type of point of view you are using, you may also have the opportunity to create smaller conversations within the larger group. You start the story with Ashley meeting Noah and Shelley, and you take the time to really show enough of who each character is that we’ll remember, and then you jump to a new scene where Danny is meeting Ricky. Once we’ve gotten used to this second group of characters, you bring all five together. Instead of being overwhelmed with all five characters at once, we’re spoon fed a little at a time so it’s less of an overload. 

And this example of 3 characters, then 2 characters isn’t an absolute. You can work with as many characters as you feel you can balance. If you’ve got a cast of, let’s say 12 characters, you might start the scene with a group of 5, and then a group of 3, and then a group of 4. The number of characters you’ll introduce at a time is in proportion to the cast as a whole. A bigger cast might mean bigger groups, or perhaps several smaller groups. This is where you play around with your specific setup to see what works. 

These are just some tips for introducing a large number of characters. Hopefully something in here will help you!

-Rebekah

7 Seconds To Say Yes

i was very emotional in making this and i tried to capture the overwhelming emotion in this through my writing, so here’s a nice fluffy one shot ;)

summary: the most important 7 seconds of dan’s life caught on camera

warning: g for gay, feels, maybe improper tenses as i usually write past tense and might have messed up whoops

genre: fluff

word count: 1,446

Sometimes people ask me if it’s weird to have so much of my life on the internet for everybody to see. I always say that I don’t mind, as some of my happiest moments have been documented for the internet to see, and I wouldn’t want to ever lose those moments. The internet has done so much for me, it’s only fair that I let people see into my glamorous life for a few minutes. Everybody eats the answer up, and, while it’s mostly true, that isn’t the reason that I don’t mind.

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creideamhgradochas  asked:

Could you do 067: "I came home to a Nerf gun on the front porch and a note that says ‘Here is your weapon. I have one too. Loser cooks dinner. Good luck. xo’" from the 101 Fluffy prompts with Bucky please?

Why of course I can!!! And I am so fucking sorry this took a century and a half to post. I’m a horrible person. xxx

Originally posted by gliceria

Home Sweet Nerf Gun

Bucky came home to see an offensively bright, neon pink and orange nerf gun on the front porch. Just laying there all innocently on the doormat (the doormat says ‘Welcome! Beware of husband, cat is shady, wife is cool though’). With a curious grin he climbs the three porch steps and halts before the gun that has a small torn piece of scratch paper perched on top of it. It reads in your familiar script: Here is your weapon, I have one too. Loser cooks dinner. Good fucking luck xo.

Bucky right out cackles when he sees your P.S - ‘p.s you should not have taught me how to snipe baby’

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Google made me proud today.

A little while ago, I was on a mission to show a friend of mine the best doggo in the world, Chica. I began to type ‘mark fischbach chica’ and as Google tried to read my mind, as it always does, I froze and tears welled in my eyes.

‘mark fischbach changing the world’ now at this moment I was mid sentence on Skype so my friend started to panic slightly because of my sudden pause. When I finally found my voice again I explained what had caught me off guard. To which my friend replied, “Why did that hit you so hard? The guy does charity work right?”

Years of watching Mark, all the skits, all the let’s plays, all the goofy stuff that falls in the mix as well, even if I didn’t necessarily like the video or find it particularly funny I always watched from beginning to end to show my support for his channel. Not because I was staring at his face [though he his a looker], not because of being his biggest fan [though I’m probably up there], not even just to have background noise [I like to actually watch the videos]. I would watch them in their entirety because maybe the money made from that time watching that particular video would enable him to do his next big event that would save people’s live by giving them the hope they had lost, fund another charity so its research could go on and maybe even find a cure, all of that and more.

Today I watched his PAX East panel, not in person sadly but live on twitch. At the end when it appeared he was going to break down and cry [all while I’m pointing and screaming at my TV for him not to cry over and over again because though I know he’s crying because his heart is full of joy and pride, it makes me tear up too, dang you Mark] His ending remarks both filled me with happiness and sadness.

Mind you now in the Skype call, showing pictures of Chica has fallen to the back burner [sorry Chica-bica] and I had began rambling about all the different charities Mark has helped raise awareness and money for, how his channel has become this massive community full of love and kindness and were only able to what it is today because no matter what video you click on of Marks, be it his oldest videos or one he posted a few hours ago, behind those dick jokes, infectious laugh, screams, two-finger defense strategies, and everything else; he’s still just a man who wants to change the world.

My exact words before the Skype call was ended with my friend saying I’m gonna go check out this guys videos [got you a new subscriber Mark! Woo!] were, “I froze when I saw that come up on the auto-complete search results because it’s amazing. I froze and damn near started crying my ****in eyes out because this man who one a daily basis calls himself a goof and acts exactly like a goof, is changing the world. Whether it’s meeting a sick child who is a fan of his videos, doing a live stream, going out and meeting his fans and doing skits that include them, answering questions at conventions, or just making people like me be able to smile from the comfort of my home and give me the strength to fight impulses that would be damaging. He preaches over and over again that to him we’re the heroes, hell he put it on the sleeves on his charity shirts, he’s too humble to admit that he is the hero or that he’s made his friends: Bob, Wade, Jack, Ethan, Tyler, etc. heroes as well for pushing for the goals with him and all coming up together with new and amazing ways to both entertain and improve the day to day life of everyone who will watch and listen.” 

I sat here for a few minutes minutes, got my screen cap cut down to size, made sure it wasn’t too illegible. As I began to type my post, my Skype rang, it was my same fiend from before. I imagine the time lapse between end of call to now beginning of new call was maybe a total of two hours give or take.

I answer and all I hear are tears. I am instantly in [who do I need to kill] mode. After they calm down they explain they just searched for emotional play through’s. My mind immediately goes to ‘Presentable Liberty’, ‘That Dragon Cancer’, ‘Anxiety Attack’, among many others I could think of that could be labeled emotional. 

After an awkward silence they asked, “What possessed this man, who has known such great tragedy and loss in his life to do everything he does for others.” I smiled, we were on video chat so they saw and then looked at me with confusion. “The answer to that one is easy, I think he’d agree. He’s seen difficulty, just like all of us, and THAT is why he continues to do it. He strives to make the burdens of this world less heavy on our shoulders, he raises money so that the sick can be mended and go home and play with their friends, he makes personal vlogs looking into each and every one of his fan’s eyes, tears brimming with whatever emotion he’s conveying so we all know he is there for us, he is proud of us, and he will never stop working to change the world.”

My friend nodded at me then told me they were gonna go rest on it, maybe watch a few more videos before laying down. I just made a terrible joke about FNAF [I will spare you the joke, trust me, it was bad] then the Skype call ended once more. 

Now I’m left here with these thoughts in my head. Earlier I mentioned the PAX East stream, one of the things Mark said before leaving the stage was, “When we’re gone, you’re next.” Now this turned into jokes being made and all that because that’s what Mark and his friends do, they cut up and have a good time. It was the way he said it that stuck with me. Like he’s prepping all of us to take this bright, burning torch when he decides to step away from youtube as a career and that brings him almost to a blubbering mess because of all we’ve shown him we can do so far, I think he believes that whenever that time is. Whether it be a year from now, two years from now, or more; he knows that the community that he never dreamed he would have and be part of will continue to do what we do best, because we learned it from the one and only Markiplier.

Change the world.

anonymous asked:

1/3 i love your clexa writing and ive got a topic that isnt the nicest but im hoping youll still discuss it. lets not gloss over clarkes faults just cause shes the other half of our ship. we all know shes manipulative, cunning and stubborn. she has manipulated and used lexa more than once. i think these incidents all happened early on tho? so ok not so bad i guess? i dont like how she acted so hypocritically later on(killing Emerson), even tho she did come around. still, she went there. but my

biggest issue is when she proposed blood must not have blood. i have no doubt lexa made the choice cause its something shes always wanted as well. but did clarke fully know that? did clarke even consider the further risk to the grounders(more villages attacked) and to lexas very life this would bring? she seemed to be having a one track mind and only considering the well being of her people, not the grounders, not lexa. when titus out right tells her lexas life is at risk, she doesnt offer up anything. doesnt ask if theres anything that can be done to lessen the risk, doesnt propose a new compromise, doesnt seem concerned with anything other than making sure not one of her ppl are harmed. ‘including’(one must assume) the killers as well. it bothers me that she didnt seem too concerned with the risks this huge thing lexa was doing(cause she seemed shocked when lexa agreed, i dont think she knew how much lexa also wanted peace) was going to bring about upon lexa and her people

Ok um. I wouldn’t say she ever “used” Lexa. Tried to manipulate, yeah, but she never downright used her. And you’re right, the most memorable incidents happen early on, see Clarke’s bluff about being able to cure the Reapers, twisting and omitting certain events in regards to Anya’s death, trying (and failing) to convince Lexa to spare Finn. Clarke is good with words, she’s always been. She’s extremely clever and her power of persuasion is impressive. Think about all the characters she convinced to do something she wanted at least once by using the right words, from Bellamy to Nia the list could be endless.

You’re not the only one who has issues with how they handled “blood must not have blood”, so I’m not going to defend what happened 100%. But it’s pointless to criticize poor writing now, so I’m only going to focus on what we got in the show, not the what-ifs. Yes, Clarke definitely reflected on what to say to Lexa; as I said, she’s masterful at understanding what to say and how to say it depending on the circumstances. Her main concern when she first makes that proposition to Lexa is that her people survive. Clarke doesn’t want the people she loves and many other innocents to pay for the actions of a few. So she makes that shocking suggestion. But how shocking is it, really? How shocking is it for Lexa?

First, I want to focus on this brief exchange between Lexa and Indra. (x)

They are discussing about the best way to proceed, and as it’s clear from their grave voices and faces, the answer isn’t as simple as it appears. “In a day’s time we lay waste to Arkadia,” Lexa said right after finding out what happened. She was furious in that moment, and had the right to be. She found 300 of her people slaughtered for no reason, and Indra, one of her most trusted people, told her that Skaikru reject peace and demand land. So she calls for blood. But when her initial rage settles down and she starts thinking more logically about what her next move should be, we get this moment with Indra, and we see that she’s incredibly worried about what is supposed to be the obvious “solution” too. War. Because that’s not a simple solution at all, and the outcome is not at all certain. They have the numbers, sure, but Skaikru has guns. This never ending issue is even brought up again by Clarke in the latest ep of the show, when she’s negotiating with Roan.

It’s not as easy as it seems, Lexa knows that. That’s why she is so concerned. Not to mention that we have been told repeatedly in the show just how different Lexa is. It has been established that she is a visionary, that she doesn’t take joy in violence, that unlike her predecessors she doesn’t want war, she wants unity and peace.

Now, why am I saying all this? To show that Clarke’s proposition and Lexa’s subsequent decision don’t come out of the blue. Clarke doesn’t have to make her way in Lexa’s head and warp her thoughts: those thoughts are already there. I feel the need to bring up the script, because it makes what I’m trying to say even more evident.

See what I mean? Even if they come out on top, Lexa is well aware that there can be no winners in a clash of this kind. No matter who prevails, it will be a bloodbath anyway. And that’s when Clarke comes in. She gets there and suggests that Lexa changes things. Indra is quick to remind Clarke that blood must have blood, to which Clarke replies “Really? Because from where I stand the only way that ends is with everyone dead.” If you look at the script, that’s exactly what Lexa was thinking too, BEFORE Clarke said anything.

If we talk about attempts at manipulation, I actually would like to compare this scene to the conversation Clarke and Lexa have in 2x08, when Clarke is trying to convince Lexa to spare Finn. They start in a similar way.

  • 2x08

LEXA: You bleed for nothing. You can’t stop this.
CLARKE: No. Only you can.

  • 3x05

LEXA: Tell us, Clarke. How does this end? Have you come up with a way to save your people yet again?
CLARKE: No. Only you can do that.

Albeit extremely similar, note the difference there is already between these two exchanges. Yes, there is bitterness in Lexa’s voice, and maybe even the hint of sarcasm, but still, she is open to listening to what Clarke has to say, whereas in 2x08 she tells Clarke there’s no point in discussing (and bleeding). And then we get to the way Clarke tries to approach Lexa, which is strikingly different. (x)

Let’s focus on 2x08. Clarke goes for Lexa’s psyche. She takes that little information she received about Lexa, mixes it with her assumptions about how Grounders are, and she tries to use all that to influence Lexa and make her do what she wants, which is release Finn. What does she tell Lexa?

  1. To give a proof of her power. She is flattering Lexa, telling her she is powerful, hoping Lexa will be more easily convinced if she appreciates her strength.
  2. To show that she is merciful. She has already had proof of Lexa being a merciful person, and Lincoln confirmed it as well. So she shows Lexa she recognizes this characteristic that she has come to realize is important to Lexa, and encourages her to do something that will make other people consider her merciful too.
  3. To not act like a savage. She’s telling Lexa that that’s how her people will see her if she does this, not as the merciful leader, but as a barbarian basically. She is telling her to prove them wrong.

Clarke’s words fall flat, though. She is trying to influence Lexa’s decision, yes, with a speech that sounds very much like Clarke is saying Lexa can elevate herself from the “status” of savage that the Sky People have applied to the majority of the grounders. It all sounds too much like Lexa has to prove something to the Sky People, like it is important that Lexa impresses them positively, almost like she has to prove the good guys that she isn’t a bad guy. But Lexa doesn’t care about impressing them, definitely doesn’t care about the Sky People considering her a bad guy or a savage. “We are what we are.” She sees what Clarke is trying to do and she doesn’t fall for it. It’s not accidental that when Clarke stops trying to manipulate her and instead uses more personal arguments, Lexa doesn’t shut her down as coldly as she did at first but instead replies to her, “But Finn is guilty […] Then he dies for you.” and eventually even lets Clarke say goodbye.

So here you have the failed attempt at manipulation. Instead let’s look at 3x05 now.

There is no beating around the bush here. Clarke tells it like is. Her people did something horrible. And Clarke doesn’t even think about trying to justify them. She’s past that mentality of Sky People being better than Grounders that was still in place in 2x08 (even if progress had been made already). Here, she knows her people are in the wrong and what they did was awful. So no, I don’t think that she is trying to manipulate Lexa, even if only because she knows that Lexa is right in wanting justice. Of course Clarke is not going to say “Go ahead, kill them all.” There are people she loves in Arkadia, people she knows have nothing to do with what Pike and his group did. She talks to Lexa, she suggests an alternative to war (which we already saw it’s not what Lexa wants) and she argues her position with powerful words, because we’ve seen that Clarke is very good at doing that. But it’s all in Lexa’s hands really. Clarke never tries to insinuate her thoughts into Lexa’s mind. 

You know, I’m thinking about 2x08, about how Clarke told Lexa to prove herself, and I’m thinking about manipulation techniques. The events of Hakeldama take place a few days after Lexa bowed before Clarke and swore fealty to her. Now imagine if during her conversation with Lexa in 3x05, Clarke had said something like “Show me your words weren’t empty. Show me your vow is real.

THAT would have been a true attempt at manipulating Lexa. But it never happens. She doesn’t manipulate Lexa, she reasons with her. I think it’s important to notice that Clarke tried to reason with her people too in this same episode, and she failed. Her discussion with Bellamy was a complete disaster, and she couldn’t even get to Pike. Look at what she tells Lexa. (x)

Maybe it’s just me, but I’ve always considered this line right here pretty big. Clarke is placing her trust in Lexa here, she is trusting Lexa to do what her people didn’t, to be better than them. I don’t know, I’ve always found that a pretty huge deal. So no, I can’t really bring myself to say Clarke manipulated Lexa here.

As for what you said about not listening to Titus, I think it’s important to remember that their conversation takes place in 3x06, the episode that features the return of Emerson, who is the personification of Clarke’s demons. She is upset for the majority of the episode, she is so desperate to run away from what she did that she doesn’t think twice about agreeing with Titus that Emerson deserves death, basically going against everything she and Lexa discussed at the end of 3x05 and the beginning of 3x06. Is she being an hypocrite? Yes. And we’re supposed to see her as such, because we’re supposed to perceive how deeply her guilt is conditioning her. The narrative makes sure we see her hypocrisy, via Lexa’s words, “So blood must not have blood applies only when it is my people who bleed”, and Clarke’s reply to that sounds very much like a justification. So it’s not a surprise that she doesn’t listen to Titus when he comes talk to her in her room, she’s not in the right state of mind to do that. Also I would like to point out that this is Clarke’s face when Titus tells her Lexa’s life could be in danger. (x)

Even as upset as she is about Emerson, you can still see that she is worried for Lexa. Definitely not indifferent. 

Also, I would advise reading this analysis by @spacewalkeravenreyes in regards to the connection between 3x06 and 3x12, the episode in which Clarke kills Emerson, but what she did wasn’t hypocritical. Her killing him doesn’t deny the importance of her sparing him in 3x06.

Anyway, this got far too long. TL;DR I don’t think Clarke manipulated Lexa with “Blood Must Not Have Blood”. Clarke is smart and cunning and yes, she can be manipulative too when she wants to, but she is not the devious, evil snake sometimes the fandom takes her for. 

Negan x Reader: The Coach

A/N: FIRST AND FOREMOST LEMME JUST LET YA’LL KNOW MY INTENSE EXCITEMENT TO BE INVOLVED IN ROUND 2 OF THE NEGAN WRITING CHALLENGE. Second of all, huge thank you to @flames-bring-a-ton-of-ash @negans-network for creating this awesome concept! 

Masterlist

I chose the prompt Coach Negan with an OC of colour (Latina/Hispanic). Also, to avoid anyone accusing me of sexualising my own race again, I AM HISPANIC AND DO NOT ENJOY BEING SEXUALISED BECAUSE OF IT.

Originally posted by jdm-negan-mcnaughty

Warnings: Teacher/Student relationship, student is of legal age in the UK and the US (18). Racism, rough sex, daddy kink, teacher kink, slight sub/dom relationship, breath play. 

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free will vs. fate

here’s a quick entry for klanceweek prompt #1: free will vs. fate

i may put these on ao3 if enough people enjoy them but, for now, you can also find them on twitter!

“I can’t do this anymore,” Keith murmurs.

The room is heavy with exhaustion, with the weight of responsibilities. Slouched next to him on the couch, Lance glances at Keith out of the corner of his eye. The words are tired—Keith is tired.

Lance lets his eyes flutter shut. Another mission, another near disaster. Without Shiro at the helm, the team doesn’t function quite as well as it used to. Keith takes more risks than Shiro had, which occasionally works to their advantage. Today, though, is one of the many times it didn’t.

“It isn’t your fault, dude,” Lance sighs. He has yet to remove his armor, and the material feels heavier than ever. “Besides, we all made it out alive. That’s something, right?”

“Aren’t you the person who’s supposed to give me shit for this?”

“You make a good point…” Lance taps his chin, lips pursed. “If you need me to, I can. You don’t have to twist my arm. Actually, please don’t. My right arm hurts like a bitch from where that one meathead Galra pushed me down.”

Keith snorts and leans his head back, exposing the long curve of his neck. A moment of silence settles between them before Keith speaks again. “I’m being serious, though. Leading the team… I’m not cut out for it.”

Lance cycles through a few different responses. Since Shiro vanished, Lance has heard the other paladins offer Keith varying advice. Hunk urging Keith to keep trying, Pidge admonishing him for his disregard for her family, Allura dissecting each of his plans, Coran insisting he’s the best for the job. And Lance… he doesn’t know how to handle the situation. How does he feel about Keith as their leader?

“You didn’t choose this,” Lance starts, carefully considering his approach. “Did you?”

“I guess not. Shiro always said I should take his place if something happened to him.”

“But you didn’t choose to be the big bad leader of your own freewill. You know what I mean?”

“Lance…”

“It isn’t like you’ve been gunning for the position or anything. You took charge because a really close friend wanted you to.” Lance pauses. “I mean, you love Red, right? I know how close Blue and I are. Bonding with another lion after everything you put into bonding with Red—it can’t be easy.”

To his surprise, the corners of Keith’s lips twist into a smile. It reminds Lance of something and, for a moment, he can’t quite put his finger on what it is. But then he remembers. A shaky image, on the fringes of his memory, of Keith regarding him with a soft smile, their fingers interlocked.

The bonding moment, Lance recalls with a start.

“I miss Red so much,” Keith whispers. His voice is strained with longing, and it tugs at something inside Lance’s chest. “But I… I’m the only one who can pilot the black lion.”

An idea strikes Lance, and, okay, maybe it’s stupid. But Lance finds himself blurting, “I can help you.”

Idiot, idiot, what the hell. Lance’s subconscious is screaming at him, and he kindly tells it to leave him alone, geez. Why did he say that? This is Keith; he doesn’t need Lance’s help. Allura would make a much better right-hand man—woman—than him.

“Really?” Keith prompts.

“Uh—I? Yes?”

Lance expects disgust or laughter or, hell, even annoyance. To think someone as useless as Lance would volunteer himself for such an important role is ridiculous.

“That…” Keith trails off and Lance braces himself for impact. “Would be… amazing.”

“Yeah, yeah, I shouldn’t have even brought it u—wait. What’d you just say?” Lance swears his soul leaves his body. “Did you? What?

“I could really use some help,” Keith explains. There’s a weariness in his voice, and Lance realizes, with everything that’s happened recently, Keith has been hit the hardest. “I didn’t expect you to offer but… I kind of hoped you would.”

Lance must be dreaming. This Keith can’t possibly be the real Keith.

“Me?” Lance squeaks, disbelieving.

“You’re the best for the job…”

Holy shit, Keith is blushing.

“I don’t know about that,” Lance scoffs, scratching the back of his neck. He might be blushing, too. Ugh. “I’m just… you know. Me.”

“Exactly.” Keith’s eyes narrow to angry little slits, almost like he’s offended.

“Keith, my dude, my main man…”

“You can do it.” Slowly, Keith’s smile morphs into a smirk, much like before a practice spar. A wicked glint dances behind his eyes, and Lance feels like he’s going to explode. “Isn’t that right, Sharpshooter?”