“can we talk”

These are the BEST POSSIBLE WORDS Bitty could say right now.

Everything starts from here. Everything.

These boys have had a bit of a honeymoon so far. The excitement of their new love has kept them going. But reality always sets in, and with reality comes the realization that those Magical Moments aren’t enough to propel a real relationship forward. The heart and soul of a healthy relationship is communication, and while these guys haven’t been keeping Big Dark Secrets from each other, they HAVE been letting some things go unsaid.

In particular - and we saw this as early as 3.3 - Bitty’s been swallowing a lot of his needs for Jack’s sake. One of the touchstones of Bitty’s career at Samwell has been his enjoyment of being totally and unapologetically himself. He has been able to embrace every aspect of his identity - the pie baker, the hockey player, the gay boy - and find acceptance with his friends. But along with finding love, he’s also had to compromise that for the first time. Which he was willing to do, at first. But it was never going to be something he could tolerate in the long term. Too much of this story is wrapped up in Bitty’s sense of self.

So Bitty needs to start communicating his needs to Jack. He needs to say to him, “Honey, I know we’re keeping things quiet for your sake, but I need something else. I need an outlet.” It’s good for everyone for him to communicate those needs. It means Jack knows Bitty better. It means Bitty knows himself better. It means they can take care of each other and themselves better.

But, you know, one of the scary things about communicating your own needs is that the other person can say “I can’t continue in a relationship with you if you want that.” So yeah, Bitty has to put everything on the line, including his relationship with Jack. But if this were a relationship where Bitty had to continue to suppress his own needs, then it wouldn’t be sustainable as a relationship. All relationships need to move and change and grow.

So how does Bitty effect that move? Does he get angry at Jack? Does he issue an ultimatum? Does he tell Jack “I can’t do this anymore”? No. He says the thing that needs to be said. He initiates a conversation.

He says, “Can we talk?”

And as long as the answer is yes – as long as they *can* talk – this relationship has as much of a shot as any relationship has ever had.

OMGCP Fandom during last update:  👌👀👌👀👌👀👌👀👌👀 good shit go౦ԁ sHit👌 thats ✔ some good👌👌shit right👌👌th 👌 ere👌👌👌 right✔there ✔✔if i do ƽaү so my self 💯 i say so 💯 thats what im talking about right there right there (chorus: ʳᶦᵍʰᵗ ᵗʰᵉʳᵉ) mMMMMᎷМ💯 👌👌 👌НO0ОଠOOOOOОଠଠOoooᵒᵒᵒᵒᵒᵒᵒᵒᵒ👌 👌👌 👌 💯 👌 👀👀 👀 👌👌Good shit

OMGCP Fandom now:  do NOT sign me the FUCK up 👎👀👎👀👎👀👎👀👎👀 bad shit ba̷̶ ԁ sHit 👎 thats ❌ some bad 👎👎shit right 👎👎 th 👎 ere 👎👎👎 right ❌ there ❌ ❌ if i do ƽaү so my self🚫 i say so 🚫 thats not what im talking about right there right there (chorus: ʳᶦᵍʰᵗ ᵗʰᵉʳᵉ) mMMMMᎷМ 🚫 👎 👎👎НO0ОଠOOOOOОଠଠOoooᵒᵒᵒᵒᵒᵒᵒᵒᵒ 👎 👎👎 👎 🚫 👎 👀 👀 👀 👎👎Bad shit


Originally posted by jyhnkun

★ JJBA Asks ☮
  1. Fave Jojo?
  2. Fave part?
  3. Fave anime opening?
  4. Fave anime ending?
  5. Fave pose?
  6. Fave stand?
  7. Fave line?
  8. Fave catchphrase?
  9. Fave fight?
  10. Fave villain?
  11. Fave ship?
  12. Fave character?
  13. Fave thing about the Jojo fandom?
  14. Fave thing about the Jojo series?
  15. Top 3 side characters?
  16. Least fave Jojo and why?
  17. Least fave part and why?
  18. Least fave fight and why?
  19. Least fave thing about the Jojo fandom?
  20. Least fave thing about the Jojo series?
  21. Do you prefer the anime or the manga? Why?
  22. Do you prefer stands or hamon/ripple?
  23. Do you prefer Araki’s older art style or his newer style?
  24. Stand ability you wish you had?
  25. Stand ability you think wasn’t used well enough in the series?
  26. Stand ability you thought didn’t suit the character it belonged to?
  27. Stand ability you think is the strongest/most powerful?
  28. Kiss, marry, kill (Asker picks 3 characters)
  29. Rank your order, favourite to least favourite of: All the Jojos
  30. Rank your order: Jojo main villains
  31. Rank your order: Jojo parts
  32. Rank your order: Jojo’s stands
  33. Have you played any of the Jojo games? Which is your favourite?
  34. A character you wish you got to see more of?
  35. A character you relate to?
  36. A character whose outfit you would wear?
  37. A character you don’t understand the hype over?
  38. Characters you wish could have interacted with each other?
  39. A series you would want to crossover with Jojo?
  40. A song you think suits the Jojo series or a particular character?
  41. A relationship between two characters that you really like?
  42. What was the most bizarre moment in Jojo for you?
  43. Funniest Jojo moment?
  44. Saddest Jojo moment?
  45. Scariest/creepiest Jojo moment?
  46. Moment you wish never happened?
  47. Moment you wish could have happened?
  48. Moment you didn’t understand/were confused by?
  49. If Jojo had a genre swap, what genre would you want it to be? 
  50. If you had a stand, what would you name it?
  51. If you were in Jojo, which part would you want to be in?
  52. If you could fight any character, who would it be?
  53. If you could hug any character, who would it be?
  54. Which version of Dio is your favourite?
  55. Which non-human character do you like best?
  56. Any headcanons?
  57. Unpopular opinion?
  58. If you had a stand, what would its ability be?

Grantaire and Enjolras and roaming the streets of Paris after meetings at the Musain, just because it was nice having their arms wrapped solidly around each other, a reassuring weight at their sides.

Going through side streets and via scenic routes just because the weather is nice, or the sunset is particularly stunning tonight (“Don’t worry, Ange, you’re still the prettiest thing in the city”), or simply because they’re in the city of love, and deeply in love with each other.

And it’s the nicest thing in the world, to breath in the air of Paris– mingled with R’s cologne– and watch other lovers stroll past, it makes whatever hell week Enjolras has survived at college all the more worthwhile.

Whole days spent at museums, because there’s always one more painting, one more exhibit, one more piece of information.

Enjolras standing in front of a Picasso, a Van Gogh, Liberty leading the People, R by his side, hands loosely intertwined.

(A passerby might think it nice, to see a young, blonde man so enthralled by the artwork.

Enjolras could care less about the art, it’s R’s lips by his ear, his muted voice describing with incredible passion, rarely evoked, all about the paintings– That he’s rooted to the spot, enthralled only in Grantaire.)

Evenings in the Musain, Enjolras filled with his fiery passion, and Grantaire with a wry smile and a beer. Discussions after speechess wherein they tear into each other’s arguments, ripping them to pieces and falling a little more in love with each other.

Nights spent by Grantaire trying to coax Enjolras away from the laptop, or the books, or the notes, for a few hours of sleep.

Nights spent by Enjolras waking up cold, without a warm body beside him. Knowing exactly where Grantaire is, and hauling himself out of bed anyways. Nights passing with Enjolras watching R transfixed in a painting, sipping tea and reminding Grantaire of his, before it goes it cold.

(And when the time calls for it, stopping Taire from drinking the paint water.)

Nights spent tangled in bedsheets, learning and relearning every nook and cranny of the other– every kiss, every gasp, every breath.

Grantaire and Enjolras in a happy, consensual relationship where they recognise each for what they are, both madly in love with each other all the more for it.

IG: @queenxayla

crispykrimi  asked:

Hello! I am co-creating a comic and while many aspects are coming together, its lacking an overarching plot. There are a few subplots and smaller conflicts, but it needs a bigger picture plot to tie it all together.

Finding a Big Plot Within Smaller Plots

You might be looking at the problem backwards. Instead of trying to find something that ties them together, try to connect each subplot one by one and see what it becomes. 

Take two of your conflicts/subplots (just 2) and write them out in detail. Label one A and the other B, and then ask yourself: How could A cause B? And when you’ve exhausted yourself trying to come up with an answer, flip the question and ask: How could B cause A? 

A good plot is made up of lots and lots of cause-and-effect relationships. If big chunks of your plot just happen, without one thing flowing into the next, it becomes episodic. Which isn’t necessarily a bad thing, but even episodic stories need that flow of cause-and-effect to make them cohesive and compelling. So if you’re lacking that thread that weaves everything together, start by making small connections between pairs of conflicts/plots.

Connecting two conflicts that seem completely unrelated is easier said than done, but if you approach it with an open mind, it can actually be really fun. Do your best to ignore all other aspects of your story and just focus on the two things you chose to start with. If neither subplot includes the same characters, then find ways for those characters to connect. Make one of them related (perhaps distantly) to another one, or give two of the disconnected characters a connection from the past - an experience they shared, or a relationship that went south. Once you have two characters from each subplot connected in some way, it becomes easier to think about how each of their plots may affect the other one. 

It’s also possible that the two plots don’t even need character connections to make that C&E relationship. An extreme example could be a group of friends destroying some supernatural nexus, and that destruction creates a wave of side effects that cause chaos for people that have no connection to that original group of friends. So you don’t need a character connection to bridge two subplots, but if you’re stuck, it can be one way to get going. 

It’s challenging for me to give specific suggestions not knowing what type of story this is, but my basic nugget of advice is to make C&E your mantra. With any conflict, understand what caused it, and then further, understand what effect it will have on other characters or plot elements. You’ll likely create even more scenes and conflicts based on that kind of thinking. 

But if you do manage to connect two of your conflicts that previously did not relate, challenge yourself further by adding a 3rd one that you’ve got sitting out there in limbo. See if you can somehow fit that into this new puzzle you’re creating. 

Sometimes a plot will come together when a writer starts with one idea and builds on it, but other times plotting happens when we take the randomness of our brainstorming and carve the edges of each piece so it fits nicely into another one. 

I don’t know if this helped at all, but if you start asking the right questions - what caused this, and what effect does it have - then I think you start coming up with answers that naturally fill in the gaps. And you’re in luck that you’re a co-creator. You’ve got more than one brain to tackle it, which trust me is very valuable. I’ve cowritten before and the ideas two people come up with together, by one person expanding on another person’s idea - that is something difficult to replicate when you’re working completely by yourself. 

Good luck!


METRORail Red Line, Main Street, Houston, Sept. 22, 2016