which means i love her even more then i did before i read this

things I love about Steve Trevor
  • He makes sure he actually thanks Diana for pulling him out of the water
  • The only time he ever expresses doubt to Diana about any of her beliefs is when he’s trying to convince her not to jeopardize the mission by killing Ludendorff, and even then it’s a hypothetical (“what if”)
    • He also does after she kills Ludendorff but that’s after her belief is shattered so I don’t really count it
  • He is so duty-bound I love him so much no wonder he and Diana got along so well
  • He just. Wants the people around him to be happy? The scene after they rescue Veld always kills me, and two parts in particular: 
    • When Charlie starts playing piano and singing and Steve says “I haven’t heard him sing in years…” and his face is all soft and you can see the shadow of a smile tugging at his lips but you can also see all the sadness in his eyes from those years of him not singing
    • And when he’s dancing with Diana and it starts to snow and she looks up and is so confused and delighted and he’s like “it’s snow… go on, touch it” and she does (also she has to let go of his hand to do it and he still encourages her to? such a small thing but oh man my heart) and he looks at her with such heart eyes
    • Honestly Chris Pine played him so well, so much complex emotion depicted even when he’s not speaking, like jfc well done
  • I love the boat scene, partly because it’s just fucking hilarious but mostly because their conversation is so respectful. She tells him she was sculpted from clay and brought to life by the breath of Zeus and his reaction is just to raise his eyebrows and say “Well, that’s neat.” 
    • I know that could read as sarcastic but it doesn’t to me at all. It’s funny, sure, but he isn’t making fun of her. It’s genuine and kind, even when what she’s saying is fairly unbelievable.
    • Just the entire way they speak in this scene… He never adopts that Mansplaining Tone™ that is so common, even when he’s actually explaining things. He talks because he wants to share information. It’s a cultural exchange, and I loved it.
  • After Veld, when they’re sitting and watching the villagers dance, he just quietly says, “You did this.” and she’s the one who smiles at him and says, “We did this.” He has so much respect for her and it kills me inside because it’s not “We did this” originally (which could be him pointing out that they’re a good team, him saying they have things in common, or a thousand other things), it’s just “You did this,” because he just wants her happy. He wants her to recognize how goddamn impressive she is. There is no agenda to what he said and it fucks me up
  • The entire scene with the kiss. Like, I’m gay as hell, usually I hate this kind of thing because it feels so unnecessary, but this was so well done I’m genuinely glad it was included
    • When he escorts her up to a room he then starts to leave. Even with all of that tension he doesn’t want to assume that she wants anything to happen. 
    • So he has his hand on the door and he starts to back out of the room and he hesitates just long enough for her to turn around and meet his gaze. And even then he’s reading that as a sign that she wants him in the room so he steps forward and closes the door behind her and then looks up again to confirm that’s what she wanted. And even after that, he crosses over to her so slowly and lets her be the one to actually initiate the kiss. 
    • He gives her a thousand and one chances to change her mind, to give him a small indication that she’s uncomfortable or doesn’t want it to happen, and it’s only once she lets all of those chances pass that they kiss. 
    • Consent-based relationships, man. Fuck me up.
  • Speaking of consent… the scene after Diana returns to Veld and sees the gas has killed everyone fucks me up
    • Steve’s followed her there and is clearly freaked the fuck out because she’s just gone and he physically can’t go in to try to find her because of the gas
    • So when she comes out he’s so visibly relieved and he goes forward and puts his hands around her face, clearly wanting to kiss her, and she shoves him away and says “stay away from me.” and he does.
    • He lets her be furious and devastated and overwhelmed because he knows what it’s like to feel powerless and I think he is genuinely sorry he contributed to her feeling this much pain. He lets her say she’s angry, he lets her blame him, he lets her grieve and doesn’t stop her when she leaves him there.
    • Not only does he not stop her, he sees the smoke from Chief’s fire and yells to her to follow it because he had followed Ludendorff. Their argument from the ballroom still isn’t resolved - she wants to just kill him and be done with it, Steve wants that to wait so they can focus on stopping the gas - but he recognizes that this is her choice and even after she’s basically just blamed an entire village’s deaths on him (and on herself) he tries to help her carry it out.
  • So after Diana’s killed Ludendorff and the war is still going on and Steve runs up to find her, he’s so visibly relieved that she’s alive and (like after Veld) goes to kiss her but backs away without her doing anything because he realizes the “stay away from me” thing has never been explicitly lifted. She might still want nothing to do with him and he respects that.
    • He does touch her a couple times after this but it’s always brief, I think it continues only because she didn’t react negatively the first time, and like they’re in the middle of a fucking war and I think Steve’s about 900% convinced that they’re all going to die so I’m gonna cut him a little slack here.
  • They have that “argument” again, where Diana says “this should have stopped, I killed him, why is this still going on” and instead of saying I told you so Steve just tries to get her to move on and help him save other people.
    • When he says “maybe it’s us! maybe we’re to blame!” (meaning not Ares) and she says that (obviously) she isn’t to blame, he doesn’t hesitate, he just says “but maybe I am.” He’s willing to put that on himself. Also, the qualifier through this scene - but maybe it’s us - is so important to me, because he’s still not saying “you’re wrong.” it’s a maybe.
    • When she refuses to go with him he’s clearly frustrated (again I’m giving him a pass here because he’s frustrated because he knows he won’t be able to save as many people without her) but he still doesn’t try to force her to go with him. He doesn’t guilt-trip her, doesn’t yell at her for not helping. He just gives that desperate shrug and says “I have to go. I’m sorry, I have to go.”
    • And when Charlie and Sam and Chief show up and ask where Diana is, all he says is “we’re on our own.” Not “she wouldn’t fucking help us” - which frankly is probably what I would have said in this situation - just that statement and nothing more.
  • In their final scene, when she’s hurt and dazed and temporarily hard of hearing, he breaks his “no touching” rule, but he breaks it because he’s helping her stand up and then because, well… even if she doesn’t, he knows he’s never going to see her again. 
    • It’s also super important to me that he doesn’t try to kiss her in this scene, because god knows he must have wanted to. He sees that she is in no shape to consent to anything like that and he doesn’t even come close to pushing it.
    • I’m not even gonna get into the “I can save today” part because I’m still too emotionally fraught
    • He says is “I wish we had more time.” before he tells her he loves her and literally runs to his death. That’s it. Nothing that could possibly make her feel guilty, nothing that could have seemed like he regretted anything. Not “I wish we hadn’t gone to the front.” Just “I wish we had more time.”
    • And he then, metaphorically and literally, gives her more time. Because he knows his clock has run out, but that doesn’t mean hers has to… So he runs and saves today and gives her his watch. Gives her time.
  • Anyway I’m seventeen thousand levels of fucked up from this movie, please feel free to add because Steve is amazing and a genuinely good, complex, respectful male character like this should be celebrated
100 Dialogue Prompts
  1. “Where the hell did that baby come from, Marissa?!" 
  2. “Did you destroy the world AGAIN?”
  3. "What do you mean you’re a serial killer?”    
  4. “Listen, you can’t just keep shoving people off the sides of cliffs.”
  5. “Oh my god. I thought you were dead.”
  6. “That wasn’t there before”
  7. “So what now?” “I have no idea, I thought that would kill us”
  8. “I can’t believe you’re married to death, again!”
  9. “Assassination would seem to be a better career, with your skillset.”
  10. “It’s not my fault that the snails committed mutiny!”
  11. “It’s situations like this that make me question why I follow you anywhere.”
  12. “Where did this dog come from?”
  13. “Did you remember to take the skin off?”
  14. “I was going to ask what you’re doing, but at this point, I don’t think I want to know.”
  15. “Why is there a corpse in the bathtub?”
  16. “What in tarnation”
  17. “I love you, I’ll make you love me too”
  18. “This would be a lot easier if you sat still.”
  19. “You see, it all began when it spoke back.”
  20. “This is the pit where we keep the cube that screams.”
  21. “Why did you steal my door?”
  22. “Why didn’t you just listen to me…”
  23. “Hey, you finally made it!”
  24. “Wait, there were only three of them. Why are there now four?”
  25. “How do you ‘accidentally’ hit someone hard enough to rip a hole through time and space?”
  26. “Why is there bloodstains on the floor, honey?”
  27. “… Why are you… eating tacos at 3 AM?” “Why not?”
  28. “Why would you train your gerbil army to take over the world and enslave humanity?!”
  29. “Are toasters supposed to float?”
  30. “Honey, did you eat the dog”
  31. “Hey bro, where’s our sister?” “Um… we don’t have a sister.”
  32. “Wanna help me steal a giraffe?”
  33. “I told you that you would regret it, now we’ve ended up like this.”
  34. “Why are your clothes all wet? Why are you covered in glitter? Why does your sister have wings? Ah- get off the carpet! It’s getting all wet!”
  35. “You’re not actually sure, are you?”
  36. “What do you expect me to do? I’m a magician, not a wizard!”
  37. “Dad? What are you doing here? This is a spaceship.”
  38. “Mom says I can’t burn the city hall with you. She said that we’re going to my aunt that day.”
  39. “You….you just don’t understand..”
  40. “Okay, so. No more caffeine for you, that’s apparent.”
  41. “Where were you last night?”
  42. “Okay but have you seen what my hair does?! I kills people!”
  43. “I don’t think you understand the term 'dead or alive’, because I don’t know if this thing IS dead or alive”
  44. “What do you mean, ‘there wasn’t a murder weapon’?”
  45. “Time flies, but I can fly faster.”
  46. “You just crashed with MY podship into that wall and all you say is »It’s just a scratch«?”
  47. “Now sweetie, don’t get scared when you hear the gunshots, okay? Just don’t come to the house.”
  48. “and… why do you have a gorilla in your room again?”
  49. “Okay, last question: why is there an owl in the fridge?”
  50. “Well shit, you’re hotter than i was expecting.”
  51. “It turns out, space isn’t actually the final frontier”
  52. “If I had hands right now I would choke you.”
  53. “…why did you think it would be a good idea to set that on fire?”
  54. “Close your eyes, sweetie. They can’t get you then.”
  55. “That tiger, that tiger eats humans”
  56. “I swear, if ONE more person comes at me with their hot dog buns–”
  57. “If you would have just kissed them, we wouldn’t be in this mess! Now we’re tied up on traintracks about to be smushed like bugs!”
  58. “Do I want to know why your'e in my apartment wearing only sport shorts which are quite tight?”
  59. “What do you mean that woman wasn’t you?”
  60. “Why is there a dog on the couch?!”
  61. “Stop dude stop, you scared the dogs.”
  62. “What on earth made you think the banana was a good idea?
  63. "Do I want to know whats in the box”
  64. “Wait, no! Please don’t leave me here, it’s getting dark. Have you not heard the stories of the things in these woods?”
  65. “Those were shoes yesterday”
  66. “Can I at least put on my socks first?”
  67. “Why is the Devil in your living room?” “It’s Saturday, Tom. Date night.”
  68. “John, get your damn death ray off of my cat’s bed. You’ve given poor Fluffy radiation poisoning!”
  69. “I get it, you think I don’t care about you. You think I want nothing to do with you… And you’re right.”
  70. “No. Not after last time.”
  71. “What made you think you could survive this?”
  72. “No! I never said you could reenact General Sherman’s Total War tactic from the Civil War! We’re gonna get arrested!”
  73. “Why does our 8 y/o daughter think that THAT werewolf is her pet dog?! He’s been terrorizing our entire town!!”
  74. “Have you even bothered to consider your options before deciding to bungee jump into the Pacific?”
  75. “That is NOT how you bury a dead body, Jared!”
  76. “Do you know where the cat is? I haven’t seen it in two weeks…”
  77. “You did what?!” “It’s not that big of a deal” “You killed a man!”
  78. “But you love me, don’t you? So you’ll forgive me.”
  79. “I don’t care.”
  80. “You’re a fucking asshole, you know that, right?”
  81. “You’d be surprised how flexible a sloth can be.”
  82. “Oh great, the world exploded…. again”
  83. “I dressed up for THIS?”
  84. “Why? And how?”
  85. “Would it hurt you to tell me exactly where we’re going?”
  86. “You can’t take back those words anymore. Or everything else you did.”
  87. “he didn’t do anything I fucking told him to do!”
  88. “When they came, why didn’t you fight?”
  89. “What are you doing here?” “I was about to ask you the same thing…” “Well, it’s called the hanging tree for a reason.”
  90. “__, please come down from the tree, i’ll treat you to pizza.”
  91. “You can… seriously? Oh my gosh, teach me teach me teach me!!”
  92. “I wasn’t aware that 'monster’ was a term of endearment.”
  93. “Yes, I’m sure your flower pot really is trying to kill you, Debra.”
  94. “Why is our child on the roof?”
  95. “Do you want a hug? Will that help?”
  96. “How could you sign us up for this without reading the fine print?! It says right there that we have to give up everything!!!”
  97. “And it’s been stuck in there how long now?”
  98. “I learned I can’t trust you when the world was "fine”, now tell me one reason not to place a bullet between your eyes and listen to you.“
  99. “Why the hell are you naked in my room?”
  100. "Having criminals line up against their will and you killing them is not community service!”

100 prompts. Amazing. Thank you for sharing your ideas and contributing to our community.

Let’s make a new list right now! Leave a reply and don’t forget the double quotes “”! I will use the first 100 prompts for the next list. One prompt per amigo please!

The 3 Elements of a FLAWED Character

You know that moment when you find an old notebook, and you start reading the story you were writing years ago, and after about one page…  

And then after a few more paragraphs … 

This has happened to me several times. On every occasion I want to curl up in a small box and wait until everyone forgets I was ever a writer. And every time, no matter which old story it is, what sends me crawling into that box is the same thing: the main character. Even after I had learned to incorporate empathetic qualities into my heroes (as listed in the last post), my protagonists were still deeply annoying – if not more unbearable than before. 

Why? What made them this way? They had winningly empathetic traits! Were they terrible people still? No, and that was the problem. They were perfect. Smart. Noble. Brave. They had dazzling martial arts skills. They loved people and people loved them. They were Chosen in some way and destined for greatness. Angst-plagued though, of course. They were tragic little heroes, misunderstood and abused, driven by the desire to vanquish all who caused them suffering.  

I could’ve composed a Gaston-like song enumerating their virtues and sorrows. 

And the only thing that would’ve made them more punchable is if they did use antlers in all of their decorating.

Characters can’t be completely likable. Yes, they must possess strengths that win the reader’s empathy, but without an equal amount of flaws … they can’t function. If they’re not flawed, they shouldn’t be the main character. Story is about someone changing, for better or worse. Under the surface, all good stories are about this process of human growth or decline. So if a hero is perfect from the beginning, there’s nowhere they need to go. And consequently, there’s no reason for a reader to follow. 

The inclination to follow a story is begun with interest in the premise, of course – but it is locked in when empathy occurs, when we begin to care – the moment the reader transposes their own external and internal lives onto a character’s life. A process which starts when a reader recognizes a shared something between themselves and the hero. Sometimes, this is a goal or strength or situation. And sometimes, it’s a flaw. We meet a character that is weak in the same way we are, and a strong internal connection is born between the reader’s life and the life on the page. On a deep level we’re thinking “This person is like me. What happens to them? How do they deal with it?” And because of this connection based on what is lacking in our lives, we want to live the story, see how it ends, and find out how the main character – who is just like us – reached that ending. Because it’s our lives we’re reading about, and if we play it out in advance, maybe we can reach a positive ending too. 

So! In what way should a main character be FLAWED? 

1) Weak in a way that only hurts themselves. 

Let’s call these MIND.

2) Flawed in a way that hurts others. 

Let’s call these MORAL.

The most realistic – and most compelling – characters have both types.  

And if a character has these flaws, the story must be steering them towards what they NEED to overcome them. The main character needs to learn something, a truth, a new way to live. This is the theme of the story. Theme is a statement the story seeks to prove, to the main character and the reader, about how to live a better life. It’s the solution to whatever moral and mental conundrum they’re facing. So … 

3) The SOLUTION to their moral and mental weaknesses. 

How does that work? To illustrate, let’s look at Stitch and Alexander Hamilton. (What a combination.) 

STITCH

Moral: He’s destructive. Violent. Rude. Vindictive.  Manipulative. Enjoys the suffering of his enemies.

 And in general, pushes everyone and everything away.  

Mind: Despite his violent ways, he yearns to belong, and senses that he can’t.

He believes he’s alone, he’s unlovable, he’s monstrous, he’s never had a family and never will – he’s lost, like the Ugly Duckling. He’s missing a family he’s never had.  

Solution: He just needs to start treating people like family to be accepted into one. 

HAMILTON

Moral: He’s selfish. (“Be careful with that one love, he will do what it takes to survive.”) He’s arrogant. He’s self-centered. (Think of the entirety of Burn.) And in his obsessive journey to succeed, he pushes everyone out of his path.  

Mind: He has a fixation on death, on time running out, which drives his manic desire to achieve. (“I imagine death so much it feels more like a memory.) He’s insecure. ("Graduate in two and join the revolution. He looked at me like I was stupid. I’m not stupid.”) 

Solution: Who Lives, Who Dies, Who Tells Your Story? Eliza tells his story. Hamilton’s goal throughout the story is a legacy; he strives to achieve this immortality in any way possible, even if it means neglecting his loved ones, or even ruining their lives. He needs to learn that his loved ones are enough. Eliza is enough. And through her, he will live on. 

What would have happened if they weren’t flawed? The stories would have been boring. What would have happened if their flaws had been treated like attributes that didn’t have to change? The stories would have ceased to be. Progress couldn’t happen, because by accepting the status quo of their mental and moral states, we’re refusing the call to adventure outright. They’d just exist in the same state they were in the setup, stagnant, somewhat lifeless. Flawed characters must motor towards that NEED, or solution, that will save their lives. 

(I realize this “need” element is rather vague, so it’ll get its own post.)  

But in conclusion, this balance of strengths and flaws – and how this fictional person deals with the adventure they’re thrown into – is what makes a main character compelling, empathetic, and real. 

So when I unearth a notebook years in the future, containing one of stories I’m writing now, maybe the main character won’t make me feel like this:

Maybe it’ll even be like this: 

And best of all, maybe one of those characters will make a reader somewhere feel understood and helped and not alone. Wow. That would be amazing.

Well, there’s my writing motivation for today. I’m going to go make my main character more of a lovable jerk.

catfruits  asked:

Okay, so, I'd love to read a little something by you set in a world where Lavender made it out of the Battle of Hogwarts. Maybe not okay, but alive?

Once upon a time, Lavender had wanted everyone to look at her. She had been the kind of kid who put on dramatic plays for her stuffed animals, for any visitors to the house, and for any neighbor or passersby she could snag from the front yard.

Dating Ron in sixth year had been fun, most of all because everyone had kept sneaking glances at her. She had heard her name in curious whispers and she had grinned and giggled into Parvati’s shoulder.

Everyone was looking now, or pretending not to. She heard the whispers– oh it’s that poor Brown girl. Can you imagine, if it was your daughter, if it was you? Oh and she was so pretty before, too–what a pity–almost makes it worse, doesn’t it?

“You know Professor Lupin was a werewolf?” Hermione said, ten minutes into a very awkward lunch she had asked for in an equally awkward letter.

Lavender pushed a sauteed carrot through a little puddle of pasta sauce. “I think everyone heard about that one. Someone told the papers, or something, right?”

“Er, yes,” said Hermione. “Snape did. Which is what I– I mean, it’s related. Oh, I wish you’d gotten to talk to Remus about this. He was a lovely man.”

“Not as lovely as Lockhart,” Lavender said and she and Hermione spent a moment in wistful remembrance. “God, I feel old,” Lavender said.

“Anyway, Snape,” said Hermione. “Snape and Lupin. When Lupin was at school, Snape would make him a potion that would… tame him, on full moons. He could just curl up in his office and sleep by the fire. If you’re interested, I’m trying to learn how to brew it myself.”

Lavender shook her head. “We’re not friends,” she said. “Never have been. So why are you doing all this?”

Hermione looked like she was trying to say “we’re friends,” but she couldn’t get it out. “I was there, once, when Lupin turned without the potion. I was so scared. I thought we were going to die.”

“Afraid I’ll sniff you out on a dark night?” Lavender said, face twisting as she sank back into her wicker chair.

“No, I–” Hermione squeezed her eyes shut, and all the hesitation was making Lavender more and more uncomfortable. Even at eleven, Hermione had bulldozed through things. She didn’t waver. “I was so scared, but I think it was even worse for him. It hurt, but he looked so scared, too, I–”

“I know how it feels,” said Lavender, very quietly, and Hermione snapped her mouth shut. Lavender took a big sip from her tea. It was still steaming– it had not taken long to exhaust small talk, between the two of them.

Hermione cleared her throat and tried again. “I’m trying to do the right thing. I’m trying to make amends. I’m trying to– make things better. Do you want this?”

Lavender put her mug back down, shaking out scalded fingers, and said, “Yes.” Then, because her mother had raised her right, she said, “Thank you.”

“That sounds like a weird conversation,” said Parvati, whose door Lavender went and knocked on after she and Hermione had split the bill with the precise-to-the-Knut math of the vaguely acquainted and recently employed.

Lavender kicked through the fall of autumn leaves that had collected in front of the porch swing. “She was trying to be nice, I think.”

“She’s not very good at it,” said Parvati.

-

Her father wept. He tried not to but he was a crier, always had been.

“You were so brave,” said Lavender’s mother, cupping her cheeks in her warm hands and not even flinching at the scar tissue under her palms. “We are so proud.”

Lavender’s mother was a Muggleborn, daughter of a math teacher and a door-to-door salesman (“now there is a profession that requires some magic,” her grandfather used to tell her).

Her father was a wizard and he was trying hard not to cry, bending down to pet the dogs weaving between all their ankles. Lavender bent down, too, scratching behind Fiddlestick’s floppy ears while Mopsy cleaned her cheek forcefully. “Hey,” she said, and her father looked up, trying to firm his wobbly chin.

“You know I’m proud of you, too,” he said, trying not to tremble on it. “I just…” He reached out to squeeze her knee gently. “You did everything right. You did everything good. I’m so proud of you, chickadee.”

“I know,” she said, and she did. He was a Gryffindor, too.

-

It took Hermione more than a month to figure out the potion sufficiently well enough that she’d let Lavender try it. She was founding a non-profit for nonhuman rights, too, after all, as well as doing a fair few local speaking gigs, petitioning the Wizenagamot on a half dozen issues, getting an advanced degree, and supposedly, at some point, sleeping.

It took more than a month, so Lavender spent another night locked in her parents’ newly fortified cellar. She didn’t remember much, but she woke up with her throat sore and her nails ragged. The door was gouged from the inside. She wondered if she had been screaming. She wondered if that’s what the howls were. She felt like screaming, maybe, a little.

The door cracked open the moment the moon had dropped down below the horizon, outside. Her mother came in with a tray of her favorite breakfast foods– danishes and boiled eggs, steaming hot cocoa with the barest splash of bitter coffee in it.

Parvati came stomping down the stairs after her. “Graceful,” said Lavender. She winced at the roughness of her voice.

“Look who’s talking,” said Parvati. “Up, c'mon, eat your breakfast. We’re doing midnight manicures. Your dad says he’ll let us doll up his nails, too.”

The next full moon night, Lavender locked herself in the cellar again. “It should be safe,” Hermione had said. “It should. I mean, I’ve done all the tests. I followed all the instructions. It should work.”

Lavender didn’t remember, because she never remembered– she didn’t recall the cellar door unlocking and opening after ten minutes of post-moonrise silence. She didn’t recall Parvati Wingardium Leviosa-ing a comfy chair down the stairs, or her sitting down and pulling out a stack of Witch Weeklys, nor did she remember curling up on Parvati’s fuzzy button slippers and going to sleep.

But she did remember waking up in the morning, her cheek pressed into a soft pillow. She was tattered under a thick blanket, but she was human and looking upward at Parvati’s slack, sleeping face. Her dark plaits tumbled, curling, over the soft pink polka dots of her pajamas.

Lavender pulled herself up to sitting, stole the open Witch Weekly, and waited for Parvati to wake up.

-

“You’re going to be alright,” Professor Trelawney said and she wasn’t even looking at Lavender’s palm, just holding her hand tight in her cold fingers. “You’re going to be happy. You’re going to be fine. People are going to love you and stand by you and we will be there.”

The tower room was just the same as Lavender remembered it, down to the spicy-sweet tea and Trelawney’s big blinking eyes. Lavender squeezed her hands back. “I love you, too, professor.”

“You know, I think you can call me Sybil. It seems the time for it.”

Dean and Seamas’s housewarming for their ugly little first flat was a crowded mess, but the afterparty wasn’t. Lavender and Parvati came by with paint swatches, opinions, and hangover remedies. They ate greasy Chinese food on the floor, because it was about as comfortable as the couch.

They came back the next week, and the next. Parvati conjured a crackling fire in a big fruit bowl Dean’s mother had given him and they all sat around it like they were back at Gryffindor Tower’s hearths, procrastinating on homework.

On nights like that they sometimes talked about Hogwarts, but most of the time they didn’t. Dean had started drawing again and he walked them through his notebooks– his sisters, caricatures of the customers he dealt with in Ollivander’s wand shop, the snarky little comics he’d always scrawled in the edges of his notes. Parvati told them about the Auror trainees’ antics, going ut on their first field missions with their mentors. “All bravado and caffeine,” she said. “Bunch of show-offs.”

“So you fit in well, then?” Dean said.

“Nah, that’s Lav,” Parvati said. Dean and Seamas glanced warily at Lavender, but she just giggled and reached for another potsticker.

Seamas was considering going back to school. “Hermione’s been badgering me about it,” he said. “Says I have a talent for pyrotechnics, and there’s a whole major for fire magics at Brinxley.”

“What about you, Lav?” said Dean. “You still thinking about vet school?”

“What?”

“Oh, uh, that’s the Muggle word. Veterinarian– a medimagizoologist?”

“The schools aren’t too interested in a werewolf as a student,” Lavender said, shrugging.

“Not that that stops Hermione from showing up on the doorstep with half-penned anti-discrimination lawsuits she wants Lav to star in,” Parvati said.

“When does she sleep?” said Dean.

Little children asked about it in the street sometimes. “Mum, why’s her face like that?” “How come she’s walking all funny?”

Sometimes their parents turned to Lavender with eager bright eyes in the grocery store line, expecting her to answer. (“I got hurt, but I’m okay now.”) Sometimes they shushed their kids and gave her little apologetic half-smiles, glancing away from the raised lines of scar tissue. Sometimes they pulled their children closer to them and crossed to the other side of the street.

Harry Potter had a godson. Teddy Lupin was four the first time Lavender met him, just outside Gringotts. Teddy clung to Harry’s pants leg, peeking past his godfather’s hanging robe. “Why’d her face do that?” he said and Harry dropped a hand down into Teddy’s hair, which was bright green.

“She’s just like your dad,” said Harry.

“Puppy,” Teddy whispered, eyes wide with joy, and his skin shifted until scars stood out stark on his smiling chubby cheeks.

Lavender bit her lip and sank down to her knees in the street, holding out a hand. “Why aren’t you handsome, chickadee. What’s your name?”

Once, Lavender had wanted everyone to look at her.

She hated stories that told you to be careful what you wished for. Were you not supposed to want things? Was that the answer? She was nearly twenty two and she could make things fly with a few whispered words. She had lived through her seventh year at Hogwarts, had stepped out into that battle with her wand out and her eyes open. She had woken up–hurting, wounds tended, poison in her veins–to Parvati sleeping on Sybil’s shoulder at her bedside.

She had cried when they told her about the lycanthropy. She had cried over her bunny because a fox had gotten to it. Both times it had been with her face buried in Parvati’s shoulder and Parvati’s hands stroking her hair. She wished and she wanted– animals that never left you, bodies that never betrayed you.

Once, Lavender had wished that everyone would look at her, and now they were. Everyone was looking– so Lavender held Parvati’s hand in the grocery store at midnight, because they had both been craving green apples. Everyone was looking– so Lavender curled her hair and pinned it up, wore tank tops and little skirts on any day hot enough that she could get away with it, laughed aloud in public spaces. Everyone was looking– so Lavender knocked on Hermione Granger’s door one evening and asked, “What would it take to get me into magical vet school?”

Hermione had her bushy hair all tied back and a quill behind each ear. “A lot. There’s some statutes we’ve got to fight, and even if we can handle that you’ll still be under intense scrutiny for years.”

“I can work with that,” said Lavender, and Hermione grinned.

When Teddy marched down the aisle with the rings, his hair was a shimmering swirl of pink and purple to match the flowers woven into Parvati’s braids and Lavender’s curls.

The honeymoon would be short–a week in magical Paris in the townhouse of a Beauxbaton girl they’d befriended fourth year. Lavender had more medical textbooks packed into her luggage than anything else. Parvati’s bags were lined with half-finished reports that she’d owl to Auror headquarters from a rumpled Parisian morning, getting croissant crumbs in the bedsheets.

But for now the hall was filled with pink and purple blooms, white candles, familiar faces. Hermione stood in a violet bridesmaid’s dress, and Dean and Seamus in matching ties at Parvati and Lavender’s respective backs. Padma was luminescent with joy over Parvati’s shoulder. She had taken Lavender aside that morning for a short quiet walk in the mist and told her, “I know tonight’s what makes it official, but I’ve thought of you as my sister for years.”

When Lavender leaned forward and kissed her wife, her father burst into proud tears in the front row. He was a crier, always had been. Lavender buried her face in Parvati’s shoulder, smiling so hard she thought she might come apart. Her scars creased and puckered in her dimples, and she was beautiful, beautiful, beautiful.

Internal Conflict:  Five Conflicting Traits of a Likable Hero.

1.  Flaws and Virtues 

I’m sure you’ve heard this before, but characters without flaws are boring.  This does not, as many unfortunate souls take it to mean, imply that good, kind, or benevolent characters are boring:  it just means that without any weaknesses for you to poke at, they tend to be bland-faced wish fulfillment on the part of the author, with a tendency to just sit there without contributing much to the plot.

For any character to be successful, they need to have a proportionate amount of flaws and virtues.

Let’s take a look at Stranger Things, for example, which is practically a smorgasbord of flawed, lovable sweethearts.

We have Joyce Byers, who is strung out and unstable, yet tirelessly works to save her son, even when all conventional logic says he’s dead;  We have Officer Hopper, who is drunken and occasionally callous, yet ultimately is responsible for saving the boy’s life;  We have Jonathan, who is introspective and loving, but occasionally a bit of a creeper, and Nancy, who is outwardly shallow but proves herself to be a strong and determined character.  Even Steve, who would conventionally be the popular jerk who gets his comeuppance, isn’t beyond redemption.

And of course, we have my beloved Eleven, who’s possibly the closest thing Stranger Things has to a “quintessential” heroine.  She’s the show’s most powerful character, as well as one of the most courageous.  However, she is also the show’s largest source of conflict, as it was her powers that released the Demogorgon to begin with.  

Would Eleven be a better character if this had never happened?  Would Stranger Things be a better show?  No, because if this had never happened, Stranger Things wouldn’t even be a show.  Or if it was, it would just be about a bunch of cute kids sitting around and playing Dungeons and Dragons in a relatively peaceful town.

A character’s flaws and mistakes are intended to drive the plotline, and if they didn’t have them, there probably wouldn’t even be a plot.

So don’t be a mouth-breather:  give your good, kind characters some difficult qualities, and give your villains a few sympathetic ones.  Your work will thank you for it.

2.  Charisma and Vulnerability

Supernatural has its flaws, but likable leads are not one of them.  Fans will go to the grave defending their favorite character, consuming and producing more character-driven, fan-created content than most other TV shows’ followings put together.

So how do we inspire this kind of devotion with our own characters?  Well, for starters, let’s take a look at one of Supernatural’s most quintessentially well-liked characters:  Dean Winchester.

From the get-go, we see that Dean has charisma:  he’s confident, cocky, attractive, and skilled at what he does.  But these qualities could just as easily make him annoying and obnoxious if they weren’t counterbalanced with an equal dose of emotional vulnerability. 

As the show progresses, we see that Dean cares deeply about the people around him, particularly his younger brother, to the point of sacrificing himself so that he can live.  He goes through long periods of physical and psychological anguish for his benefit (though by all means, don’t feel obligated to send your main character to Hell for forty years), and the aftermath is depicted in painful detail.

Moreover, in spite of his outward bravado, we learn he doesn’t particularly like himself, doesn’t consider himself worthy of happiness or a fulfilling life, and of course, we have the Single Man Tear™.

So yeah, make your characters beautiful, cocky, sex gods.  Give them swagger.  Just, y’know.  Hurt them in equal measure.  Torture them.  Give them insecurities.  Make them cry.  

Just whatever you do, let them be openly bisexual.  Subtext is so last season.

3.  Goals For the Future and Regrets From the Past

Let’s take a look at Shadow Moon from American Gods.  (For now, I’ll have to be relegate myself to examples from the book, because I haven’t had the chance to watch the amazing looking TV show.) 

Right off the bat, we learn that Shadow has done three years in prison for a crime he may or may not have actually committed.  (We learn later that he actually did commit the crime, but that it was only in response to being wronged by the true perpetrators.)  

He’s still suffering the consequences of his actions when we meet him, and arguably, for the most of the book:  because he’s in prison, his wife has an affair (I still maintain that Laura could have resisted the temptation to be adulterous if she felt like it, but that’s not the issue here) and is killed while mid-coital with his best friend.

Shadow is haunted by this for the rest of the book, to the point at which it bothers him more than the supernatural happenings surrounding him.  

Even before that, the more we learn about Shadow’s past, the more we learn about the challenges he faced:  he was bullied as a child, considered to be “just a big, dumb guy” as an adult, and is still wrongfully pursued for crimes he was only circumstantially involved in.

But these difficulties make the reader empathize with Shadow, and care about what happens to him.  We root for Shadow as he tags along with the mysterious and alternatively peckish and charismatic Wednesday, and as he continuously pursues a means to permanently bring Laura back to life.

He has past traumas, present challenges, and at least one goal that propels him towards the future.  It also helps that he’s three-dimensional, well-written, and as of now, portrayed by an incredibly attractive actor.

Of course (SPOILER ALERT), Shadow never does succeed in fully resurrecting Laura, ultimately allowing her to rest instead, but that doesn’t make the resolution any less satisfying.  

Which leads to my next example…       

4.  Failure and Success 

You remember in Zootopia, when Judy Hopps decides she wants to be cop and her family and town immediately and unanimously endorse her efforts?  Or hey, do you remember Harry Potter’s idyllic childhood with his kindhearted, adoptive family?  Oh!  Or in the X-Files, when Agent Mulder presents overwhelming evidence of extraterrestrial life in the first episode and is immediately given a promotion?  No?

Yeah, me neither.  And there’s a reason for this:  ff your hero gets what they want the entire time, it will be a boring, two-dimensional fantasy that no one will want to read.  

A good story is not about the character getting what they want.  A good story is about the character’s efforts and their journey.  The destination they reach could be something far removed from what they originally thought they wanted, and could be no less (if not more so) satisfying because of it.

Let’s look at Toy Story 3, for example:  throughout the entire movie, Woody’s goal is to get his friends back to their longtime owner, Andy, so that they can accompany him to college.  He fails miserably.  None of his friends believe that Andy was trying to put them in the attic, insisting that his intent was to throw them away.  He is briefly separated from them as he is usurped by a cute little girl and his friends are left at a tyrannical daycare center, but with time and effort, they’re reunited, Woody is proven right, and things seem to be back on track.

Do his efforts pay off?  Yes – just not in the way he expected them to.  At the end of the movie, a college-bound Andy gives the toys away to a new owner who will play with them more than he will, and they say goodbye.  Is the payoff bittersweet?  Undoubtedly.  It made me cry like a little bitch in front of my young siblings.  But it’s also undoubtedly satisfying.      

So let your characters struggle.  Let them fail.  And let them not always get what they want, so long as they get what they need.  

5.  Loving and Being Loved by Others

Take a look back at this list, and all the characters on it:  a gaggle of small town kids and flawed adults, demon-busting underwear models, an ex-con and his dead wife, and a bunch of sentient toys.  What do they have in common?  Aside from the fact that they’re all well-loved heroes of their own stories, not much.

But one common element they all share is they all have people they care about, and in turn, have people who care about them.  

This allows readers and viewers to empathize with them possibly more than any of the other qualities I’ve listed thus far, as none of it means anything without the simple demonstration of human connection.

Let’s take a look at everyone’s favorite caped crusader, for example:  Batman in the cartoons and the comics is an easy to love character, whereas in the most recent movies (excluding the splendid Lego Batman Movie), not so much. 

Why is this?  In all adaptions, he’s the same mentally unstable, traumatized genius in a bat suit.  In all adaptions, he demonstrates all the qualities I listed before this:  he has flaws and virtues, charisma and vulnerability, regrets from the past and goals for the future, and usually proportionate amounts of failure and success.  

What makes the animated and comic book version so much more attractive than his big screen counterpart is the fact that he does one thing right that all live action adaptions is that he has connections and emotional dependencies on other people.  

He’s unabashed in caring for Alfred, Batgirl, and all the Robins, and yes, he extends compassion and sympathy to the villains as well, helping Harley Quinn to ultimately escape a toxic and abusive relationship, consoling Baby Doll, and staying with a child psychic with godlike powers until she died.

Cartoon Batman is not afraid to care about others.  He has a support network of people who care about him, and that’s his greatest strength.  The DC CU’s ever darker, grittier, and more isolated borderline sociopath is failing because he lacks these things.  

 And it’s also one of the reasons that the Lego Batman Movie remains so awesome.


God willing, I will be publishing fresh writing tips every week, so be sure to follow my blog and stay tuned for future advice and observations! 

OKAY SUPERCORP/KARAMEL RANT

**Please read** This all really needs to be said. However, before I go further I want you all to understand that this isn’t meant to be a hate paragraph or to purposefully put those who like Mon-El and/or Karamel down. At this point, all the disagreeing and fighting will do nothing. So I’m asking kindly that if you’re going to add something to this post- that it is filled with positive intent. 

 Anyhow, to my point:

I do watch Supergirl by the way, but I truly believe this concerns a wide variety of people. Whether you’re a fan of The 100, Buffy the Vampire Slayer, The Walking Dead, or just a person living your life… All I hope is that we all try to grasp the reality of what is truly going on. Now I will centralize this long rant towards Supergirl however. For those of you who don’t know what is going on there is a conflict between fans who ship this character, Mon-El, together with Supergirl/Kara and fans who ship Lena Luthor with Supergirl/Kara. Now, in my humble opinion, the big issue isn’t about straight v.s lgbt people and I will go on about that later… but the fact that she is with someone like Mon-El. Now what do I mean by ‘someone like Mon-El’… before certain people get mad I want to emphasize that I’m simply pointing out what happened in the show. 

This is long as hell just fyi.

1) The way Mon-El reacts to most things is through violence. In fact, the moment he wakes up he chokes Kara. And there’s this: 

(his words in white)

And the scene where Mon-El robs Brian; using his powers for selfish reasons.

He even calls her names. And notice how he does this the moment Kara disagrees with him. A reaction that does more harm than good. On the other hand, when Kara and Lena disagree on something (in ep. 2x03) they simply talk it out. They ask questions, explain, clarify, and come to an understanding.

Now, I’m not here to say that I have NEVER agreed with anything Mon-El has said, actually I applaud him for accepting Maggie and Alex’s relationship the way he did, but that’s just the thing. The opinions/beliefs he has don’t come from himself. Most of what he thinks is based off of what he’s seen on Daxam. He really isn’t at all mature. He isn’t by any means and it’s simply the truth. Now hear me out-

This is what I mean by he isn’t mature: How many times has Kara asked him politely and specifically not to do something but without hesitation still does it? And how many times has he had to beg for forgiveness? 

In addition, he doesn’t have knowledge of what respect truly means. What’s interesting though about this scene in particular- is how it’s supposed to be a ‘funny’ scene. Mon-El’s character is written in as ‘funny’ and ‘aloof’… but it sends a poisonous message- that Kara’s feelings aren’t to be taken seriously. And this show is literally supposed to be about her. Not a guy who thinks it’s his duty to ‘defend her honor’ and then complains about it.

Now I know that this was how people on Daxam acted and their way of life was for the most part, sexist, racist, etc. But that still doesn’t give him an excuse to act the way he does. 

2) Lena herself comes from a family with twisted values as well. She is adopted into the Luthor family and has had close to no friends most of her life. And yet she’s still capable of being a perfectly decent person. 

She does save the alien population not once, but twice. So not only is Lena proved time and time again that she’s a good person, but her relationship with Kara (btw I call it a ‘relationship’ just like the writers do)… is not even close to toxic, detrimental, or abusive. It’s the complete opposite.

Protect yourself”

“I can take care of myself”

3) Being in a healthy relationship is about the effort between two willing people… at the same time, knowing your boundaries whilst encouraging one another.

4) Kara deserves someone who fully acknowledges her efforts and is grateful for them



Keep reading

I have some opinions/thoughts that I’d really love to get off my chest even if other people think I’m completely wrong.

Gaston did not deserve to die, Gaston was hardly a bad person, Gaston was basically forced into being the villian of this story.

[I’m referring to the 2017 remake of BATB rather than the original animation.]

Let’s point out some difference between the 1991 Gaston and 2017 Gaston
-2017 Gaston was not a misogynist
-did not abuse Lefou
-even verbally
-Like for fucksakes, the friendship between Lefou and Gaston was so genuine. I’m frequently seeing these things around Gafou is an abusive ship, buts it’s really not? He tells Lefou ‘thank you’ says ‘you’re the best Lefou’ sincerely asks ‘how has no woman snatched you up?’, messes around with Lefou like buds (wrestling bite marks, picking him up to demonstrate strength, gets on the table and dances with him), let’s Lefou calm him down and boop his nose, and not once does he insult or hurt even when it seemed like he would (after Lefou wrapped his arms around him, or when he couldn’t spell his name, when he said ‘who needs her when you’ve got us’, etc). They’re sincerely good, close friends, but don’t worry I’m not ignoring all the shitty things Gaston did to Lefou I will get to that in a second.
-I said he’s not a misogynist, right? Cause that’s important. Big step away from the OG.
-Doesn’t insult Belle for reading
-Instead he feigns interest in the book because he knows it’s her interest
-even brings her flowers, whataguy
-Has manners (“excuse me, please let me through” going through the crowd, didn’t push everyone out of his way)
-Goes to her rescue when the town’s people are being mean (sure this is because he wanted to be the hero to seduce her, but seriously he was one of the few people who didn’t harass or bully Belle for being different)
-Doesn’t call Maurice crazy and instead offers his help to soothe the men (again, seduction, but seriously he’s still being polite and helping the underdog unlike the OG)

I’ll probably think of more things to add to this Gaston-wasnt-an-asshole list but I think this basically gets the point across that, well, Gaston wasn’t an asshole. He was immensely vain, yes, but that doesn’t mean he was a bad person.
Cus ya know who else started out incredibly vain but still managed to be the fucking prince in this story?
Yep, the Beast/Adam of course.

Time to do some comparing of the prince and the villian because spoiler alert, they basically parallel each other.

I’ll begin this part with Belle’s comment of, “No one can change THAT much, Gaston”
Ahem

LITERALLY SHUT THE FUCK UP ARE YOU SERIOUS
This line pissed me off immensely, because that’s literally Adam’s entire character arc, changing himself completely, literally and figuratively.

Like I’m sorry you wanna do a repeat of the song “Something there” aka the song where the lyrics are basically “he was an asshole brute who I hated but now he’s c h a n g e d”
Literally so pissed off at that all.

But as I was saying, Gaston basically mirrors Adam’s arc, meaning to say they’re practically the same character things going on but sorta reversed.

Like okay
-Upon first meeting Belle, the Beast locks her father then her in a tower and is a huge dick but then they bond over books and he gives her flowers and he’s nice to her.
-Upon first interacting with Belle, Gaston is nice to her, gives her flowers, tries to bond over books, but then he’s a huge dick and locks her father and then her in a cart.

Do you see what I did there? Literally the same actions, but backwards.

Let’s do some more comparing.
-They both have terrible, terrible tempers.
But you know what? The Beasts is definitely a lot worse than Gaston’s.

Let’s review how both Gaston and Adam dealt with Belle’s dinner rejection
-Beast: literally motherfucking demands she has dinner with him, bangs his paws on the door, scrEAMS at her, and then announces she can starve if she won’t eat with him
-Gaston: [not direct quotes, can’t remember exact words but basically what he says] “oh, busy?” nope “okay, then some other time?” boom that’s that. Yeah he still is persistent on winning her over even after this rejection but the man handled it a lot better then Adam (and he brought flowers for her dinner table).

I’m about to move on from Adam and start talking about how Gaston treated Lefou in a sec, but I would just really really really like to put some emphasis on the fact that both Adam and Gaston were incredibly narcissistic men. The amount of self pride and conceded they have is in the beginning is completely parallel and it leads to both of their unfortunate fates. The point in this, is Gaston is not a bad guy just because he loves himself a bit much, just as the Beast was not a bad guy for loving himself too much. Like, the way Adam turns down Agatha for being ugly seems exactly like something Gaston would do, so why does the movie end with Gaston dying while the Beast learns his lesson and gets his happily ever after?
Because, the OG Gaston was truly an asshole who deserved to die and this 2017 remake of course had to stay true to the story. Even though this Gaston really wasn’t a true villian and didn’t deserve to die – rather he deserves a redemption arc just as Adam was given – he died anyway because that’s how the story goes.

Anyway, I’ll get on with this and bring back Lefou.

Some of you have probably been reading this while thinking “But Marley [das my name], Gaston was a shitty person, he wasn’t a good friend to Lefou at all because he manipulated him, let him get punched in the face, didn’t protect him at all, and threatened to lock him up. Plus, he was only into Belle because she’s pretty.”

Alright alright alright: Lefou.
He’s an exceedingly important character as he gives us insight to Gaston’s character.
Two crucial things he reveals about Gaston … .

-Gaston has anger issues. My father has anger issues, and so do I, and we both are on meds for it. Let me say, having anger management problems and getting angry are very different things. It’s just like he having anxiety and getting nervous are very different things. I think most of you can probably relate or understand anxiety more then anger issues, so just put yourself in Gaston’s shoes with that in mind. Anyway, back to Lefou. He shows us that Gaston has anger issues when he rushes to Gaston’s aid by saying “deep breathes” and then “think about the war”. He tells us that Gaston has coping mechanisms for when he gets like this. Does it matter if Gaston has anger problems? Does it make him less of a dick? Like, seriously Marley, does this information really make up for any of the things he did? Yes, yes it does matter. It’s like when you/someone your love is having an anxiety attack, or when you fall into a depressive episode, or when a loved one acts out of PTSD [which Gaston could totally completely have], or when someone with schizophrenia or delusions starts having episodes, it’s basically exactly like whenever anyone’s mental illness starts to act up. You don’t feel like yourself and you don’t so things you would normally​ do. This is definitely the case for Gaston; he acts out of character when he gets angry like this. And that’s my second point that Lefou proves in this movie.

-Gaston is not being himself when he starts doing all that terrible shit that leads him to his demise. Lefou makes it fairly obvious that that is not how Gaston usually acts. He does this in numerous ways which I will quickly try to summarize and go through:
1) Questions Gaston. Obviously if Gaston often tied up old men to trees or in general left people to die, Lefou would have just went with it instead of going “are you sure?”
2) doesn’t immediately lie to save Gaston’s ass. Again, if Gaston frequently had Lefou lie for him, then it would have came to Lefou like second nature and he wouldn’t have hesitated.
3) Once more, questioning Gaston. The scene I’m about to refer to is when Gaston locks Belle and her father in the carriage. Lefou grabs Gaston’s arm and goes to question him again, but before he can Gaston threatens to lock him up as well. Dick move on Gastons end, no? But this isn’t something he would normally do or say to Lefou, for if it was Lefou wouldn’t have bothered speaking up because he would have known what Gaston’s reaction would be. Instead, Lefou is used to being able to talk sense into Gaston and reason with him (refer back to nose boop scene).
4) Running to Gaston’s side for protection during the fight [castle scene]. Lefou is probably used to having Gaston protect him during fights (war time) and obviously didn’t expect Gaston to throw him to the enemy. Like, yous guys heard him shriek Gaston’s name before the piano fell on him, right? He was obviously expecting Gaston to rescue him. Even after he’s trapped under the piano, he still reaches and calls out for Gaston. The way Gaston is acting is not the Gaston he knows.
5?) “I was on Gaston’s side, but we are so in a bad place right now” [however he says it you know the line I’m referring to]. Aight I think this is the one line that really captures the point I’m trying to make. Lefou has switched sides because Gaston is being a major douchebag and Lefou’s not having it. Lefou doesn’t put up with being treated like shit [MrsPotts saying he deserves better and Lefou agreeing]. So o b v i o u s l y Lefou is not used to Gaston being so cruel and angry. If Gaston treated Lefou like this all the time, then Lefou wouldn’t be by his side [because he left his side once he started acting like this]. Lefou knows how he should be treated, and how he’s being treated is not what he’s used to.
You dig what I’m saying? I’m kinda rushing through these points because I’m getting tired of this.

*deep breathe* Alright, last point, as I mentioned above, ‘Gaston only wanted Belle because she was beautiful’ Alright alright alright I’m not even going to talk about the Gaston in this point, I’m just going to talk about the huge flaw that is Beauty and the Beast.

Adam is turned into the Beast because he needs to learn to not judge people by how they look, he needs to learn that it’s what’s on the inside that matters.
Right.
So why is Belle the one that learns this lesson?
Adam falls in love with a gorgeous girl, meanwhile Belle falls in love with a hideous monster who turns into a nice dude on the inside.
Belle is the character who learned to not judge a book by its cover [cover being a monsterous beast but inside he is a gorgeous prince].
As soon as Belle walked into the castle, all the furniture was like “yooooo she could be the one, master hit her up” and instantly Adam’s like “well I need a girl to fall in love with to break my curse and she cute yeah let’s do it”. Like of course there’s more to our then this, but what I’m trying to say is Adam had already planned to try to charm Belle before he knew what kind of person he was because he was desperate to break the curse.
So he and everyone in the castle just saw her and was like “she was a girl, he was a boy, can I make it anymore obvious?”
So anyway anyway anyway, Gaston was only interested in Belle because she was beautiful and he wanted a wife, but Beast was only interested in Belle because she was beautiful and could break the spell. See the parallels again? Like, Beast later fell in love with Belle for who she was and she made him a better person, Gaston could have totally done the same thing.
And okay, there’s no proof Beast cared that Belle was beautiful or not, but yo, Disney definitely should have made Belle ugly af so when Adam met her the snob in him would have been “ew she’s ugly, next” and then Lumiere and Mrs. Potts woulda been like “boi Imma whoop yo ass if you don’t give that girl a try, I don’t care how fucked up her teeth are smfh” and then Adam would have learned the lesson that the enchantress was trying to school him about in the first place [this applies to the 1991 animated film, not directly at the 2017 btw]

Well I was trying to keep this professional and moreso eloquently written but you can tell I’m coming out of my cage and I’ve been doing just fine gotta gotta be down because I want it all

Okay okay okay
Okay okay
Okay

I believe we’re nearing the end. I believe I’ve said all I needed to say made all the points I could [honestly definitely not because I’m constantly thinking about this and arguing with no one in my head, I have a lot to say and later I’ll be making toast and be like “anD ONE MORE THING”]

I’m very upset Gaston died because he wasn’t a terrible enough character to deserve death.

So Dear Disney, either make Gaston more of a shitty person, or bring him back to life. I’ll be waiting for an apology letter until this is done.

Of course I’m kidding.

I just have such a love and passion for Gaston and I’m truly sick of hearing people tell me that Gafou is an abusive ship and Gaston is a villian.

And if you refuse to see that Gaston wasn’t a bad guy but still believe that Adam is such a prince than you’re insanely hypocritical.

People just see what they want to see.

Also I’m terribly sorry for making this so diddly damn long, I honestly have no idea how to do the cutoff “Show more” thing, I’m on mobile. So sorry if you’re trying to rapidly scroll past all of this and it’s taking forever.

But honestly fuck you don’t scroll past my argument.

And also if you legit read all this then motherfucking congratulations to you. Like I don’t even want to read all of this shit to edit it.

Thanks for the attention. Marley OUTT
fake dating! zimbits

It was only by a stroke of luck that Jack happened to look at his phone just as he exits the lecture hall. The group chat was blowing up – the group chat was always blowing up these days – but the lack of all-caps or exclamation marks caught his attention right away.

Eric Bittle: Guys, I wouldn’t ask this of y’all if I really didn’t need this, but I have to ask a HUGE favor of one of you.

Shitty Knight: brah are you dying

Justin Oluransi: You can have my kidney, Bits.

Adam Birkholtz: u aren’t gonna save that for me just in CASE, JUSTIN?

Larissa Duan: shit, bitty, r u ok

Eric Bittle: Um, yeah, mostly, I just…..need someone to pretend to be my boyfriend.

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fake fake fake
  • the clip starts with eva talking about causeries: humorous written piece that, in english, can be referred to as “talk of the town”. eva says she’s not good at it while noora says she doesn’t even know what it is. 👀👀👀
  • even before sana starts focusing on the carrot munching, from the very first second of the clip, the audio has a slight echo to it. which could just be the staircase in which they’re in but i’d think that the team would fix it in post-prod. i feel like they left it because it gives a daydreaming quality to the scene and sana’s pov. from the start, she’s not really listening.
  • carrot munching from the trailer
  • i’ve seen people comment that noora is eating too loudly, that’s not what it is.
    firstly: have you ever managed to eat a carrot silently? and secondly: the shot is to show how much sana is annoyed by noora now. when you hate someone, you tend to find every single thing they do annoying. suddenly, they breathe too loud, eat too loud, are just generally gross.
  • in my attempt to find out if there was a word for this phenomenon other than misophonia (as i understand it, misophonia is when you’re hypersensitive to certain sounds regardless of the context or person…i was looking for a word for when it happens only when you hate someone), i discovered a video of 5mn of carrot munching noises. here it is if you want to die.
  • the mcdonald’s discourse
  • sana looks outside at sara, vilde, and laila and…
  • …i’ll come back to this image later.
  • as sana focuses on noora and eva joining the group, she tunes out the noise around her just as when in prayer or when she was looking at yousef’s facebook profile. it seems that the music from sigur rós is used here as it was used in the other focusing scenes.
  • isak literally gets his nose into other people’s business (and i feel that almost everyone noticed immediately, despite how little of the frame it takes, because of the reading sense)
  • again, we have isak trying to reach sana and he says exactly what’s on sana’s mind: “has sara stolen all your friends?”

[cont. after the “read more”]

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Vanilla (M) || Dom!Jimin Smut

gif is not mine

Genre: SmUuUuuT || Fluff (?) at the end || Dominant!Jimin
Word Count: 5.6k of pure fiLTH
Warnings: Hair pulling, light spanking, light choking, overstimulation, fingering, a lot of dirty shit okok prepare yo self

Description: Jimin is a busy guy. The idol life is not an easy one.
With you missing him for three months due to his schedule, all you wanted was to spend his first night back with him. When that doesn’t go to plan, you end up spewing shit about your sex life with Jimin – or better yet, your lack of one.

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anonymous asked:

I'm sorry to bother you, but do things really get better? I'm 16 right now and everything I know is sadness and exhaustion and anger and then I talk to my parents and they just complain about adult life... is it worth it to go on?

oh gosh, i promise, it’s worth waiting, buddy. i know there are a lot of people who say, oh it gets better. and it does in some ways, but what it really gets is different. the people who are angry and mean and horrible often stay that way. the people who cut you off or who flip you off or who piss you off often are the same people at 16 as at 26. 

i think i hated people telling me “it gets better” because what could get better about being a mentally ill queer cuban girl in a world that wanted to eat me. i got spat out. my writing isn’t published because i’ve been rejected so many times i don’t even notice anymore. i was told a few times “make it less obviously homosexual”. what is going to get better about that, i said to myself. the memory of it will never be a nice one.

things got different slowly. like i didn’t realize until i was far on the other side of it. i wasn’t kidding in that last post when i said today i read my writing at 15 and it was painfully obvious how depressed i was. i didn’t have a diagnosis. like you, all i knew was that i was exhausted and angry and sad all the time and when i talked about it, i was told “everyone feels that way sometimes.” i felt that way all the time. in this story, i don’t suddenly wake up after turning 18 and have a magical life where it is all bunnies and flowers and loving. it took me 3 years of trying before i finally managed to quit self-harm completely. my eating disorder and i are still not on speaking terms, luckily. i’m slowly getting a handle on my ocd. i didn’t realize that the biggest thing that was changing was me.

yeah. being out of the house made it easier. away from where people knew me as a certain person. being someone new or being who i was or being in a room full of people who didn’t care how gay i was. being in control made it better. finding real and true friends made it better. being able to make my own plans and choose my own story and do more than just wait until i was old enough to be taken seriously - it got better.

but honestly it’s me. i learned how to shake hands with depression, he and i are such good old buddies i sometimes see him before he’s even coming. and i’ve gotten so good at getting out of his embrace, because practice makes perfect, same as anything. and i’ve learned things about myself i had no idea about at 16. i didn’t even realize i’m funny. i had never been skinny dipping. my only kiss had been sort of an accident. there was a lot i cared about then that i don’t care about now, because in my new world outside of that, the people i surround myself with don’t care either. i’ve worn a dinosaur onesie pajama set to eight parties now when 19 year old me wouldn’t be seen without her makeup. i wear glasses in public even though i’m nervous they make me look like a bug. i have tattoos and new piercings and a bank account (and no money) and i have love. and i don’t mean with a partner, although i’m blessed enough to say i have that as well - i mean. i just found it. i taught myself how to look for it. i figured - listen, i’m here still, so i might as well, like, try to enjoy it. and it wasn’t overnight. it still goes away sometimes. but i love so much and so easily now. i laugh more because of it. i let myself love dogs and movies and silly things. and this love sort of … makes things better. because it reflects off of everything into you. like a mirror.

at sixteen… at sixteen i was very suicidal. i didn’t know that it applied to me, because i thought i was just annoying and lazy. looking back now i always pull a face at how obvious it was, and how close i got to walking myself into a grave. it was more than a close call. death, like, waved. i actually believed i wouldn’t make it past 18. what was the point? what was the point of anything? i think if i’d told myself then, “it gets better”, i would have laughed. “maybe for you!” i would have said, “you have money and a life and you’re not like this.” but it did get better. in inches. stick around to see it. stick around to see everything wonderful that’s waiting in the wings for you. that knows your name. a fate of beautiful moments that are small and precious, like butterflies landing on fingers or snowflakes on tongues, or just sitting with a good book during the rainfall. hell, stick around to write the book, because (trust me), if you believe in your art and yourself - it can be done.

stick around most of all because what gets better is you fall in love with yourself. the world doesn’t become suddenly sickeningly sweet, even if the people around you become better and you’re given more opportunity. that’s wonderful too but… what happens is that over time, the stuff they told you stops sticking. you realize that just because your nose is crooked it doesn’t even matter because it doesn’t stop you from being the best dang ping pong player in your family. you realize you have a family, even if they’re not blood. you realize you are your own family. and you learn to take care of yourself and yes, it gets ugly at times, but you manage. and inside of managing there’s all these wonderful successes like mac and cheese and getting the bills done and the smell of clean laundry and friends that make you laugh so hard you almost pee and an apartment with plants in every corner and a hairless cat in sweaters or a dog with a bowtie or both and watching movies and reading books and seeing art, all of which haven’t been created yet, and possibly you’re the one who makes them. and managing … managing doesn’t have to be big. sometimes it’s just making a small difference. and sometimes the person you make a difference to is yourself. and that’s amazing.

stick around because, trust me, somewhere in there, you meet your younger self in your dreams and you tell her - oh gosh, i promise, it’s worth waiting, buddy.

We Got Married (M)

Originally posted by kthmyg

8.8k words. Arranged Marriage AU. Min Yoongi.

Warning: Fingering. Phone sex. ft Kim Namjoon.


It’s hilarious, laughable, pathetic even, how love could either build you or ruin you and yet knowing this, people still chase after it like the rise of golden light beyond the horizon, or the last drop of dew in twilight, or the flutter of that one coral blue butterflies in buttercup paved meadow.

It’s frightening, daunting, startling even, how love makes your hands clammy like you’re being interviewed by the very man who founded the big shot company you’ve applied to.

And it’s utterly, impossibly, unbelievable how love comes in many ways like a bump and a spill of coffee on crisp white shirt, or a brush of hands upon a dusty leather brown book spine or an envelope obtained from a mailbox on one’s way back from grocery shopping.

Well, that’s exactly what’s happening to Min Yoongi, second son to one of the well-known elite families in Seoul. Most of the time, he couldn’t care less about family matters; business deals, dinner with alien faces and empty conversations─ those things he’s entitled to attend with mildly bored eyes and champagne he’ll never finish in one hand. But this particular matter, he can’t just not care. One, because it directly concerns him (as if the cursive letter of his name engraved in bold black against crisp white isn’t enough indication). Two, because it’s from a certain someone in his family who he’s fond of.

Dear Yoongi,

Is written on the top of the not so neat written paper.

Son,

I know you might hate me for this.

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anonymous asked:

Forgive me if you've been asked this already but at what moment do you think Clarke fell in love with Lexa, or realized she was in love with her? I believe Eliza had trouble answering this at a con (I think she said it was before the bow though) so I'm wondering what you think.

Mmm that’s hard to say, and honestly, that’s kinda what I love about it. Because you can’t always exactly pinpoint the moment you fall in love with someone, right? Maybe it’s a feeling that grows gradually but unstoppable, maybe it’s like a wave hitting you at once, it varies. And that’s how I think it was for Clarke.

The way I see it, it was sudden for her at first and then everything slowed down and it naturally developed. It wasn’t love yet in the beginning, but there was definitely a realization that she had feelings for Lexa. Just look at her face after storming out of Lexa’s tent in 2x14. 

Why else would she looked so bothered? If she had just been upset about their argument she would have had an angry face. Instead she looks like she’s literally trying to physically restrain her feelings, whatever they may be. She takes that deep, shaky breath in an attempt to collect herself because, what the hell just happened inside that tent? Did Lexa really just confess she has feelings for me? And why does it affect me so much? What am I feeling? This is what I think is going through her mind. And then of course we have the confirmation of this, when she gladly replies to Lexa’s kiss. Even after she rejects her, there is no indication of that being a definitive rejection. There is no feeling of “I’m sorry, but I don’t reciprocate.” Clarke is not ready for a relationship, and it’s right that she was honest with Lexa, but she rejects her in literally the softest way possible, AND leaves the door open for the future. Not yet. That means she already sees herself considering a relationship with Lexa in the future, after healing, when she’s finally ready. And look at how tender and somewhat tamely longing her gaze is even after she rejected Lexa.

She is definitely aware of her feelings for Lexa here. But then the betrayal happens and ah, they take 46 steps back.

Now, of course, Lexa’s betrayal causes Clarke to close herself off. Clarke is angry at Lexa, she’s angry at herself, she’s in pain, every other feeling pales in comparison. And obviously, so much of Clarke’s suffering is tied to what Lexa did, so it’s definitely not a surprise that romance is out of the question when they first meet again. Clarke’s pain is consuming her, she is definitely not thinking about whatever she and Lexa had. And yet…

This isn’t a romantic moment by any means. But we’re talking about Clarke realizing she loves Lexa, and I don’t think we can’t gloss over this moment. When I say that I don’t romanticize this scene, it’s because this is not a cute moment. This isn’t a “oh my God, she loves her!” moment, this moment is sad. It’s painful, it’s heartbreaking, but it’s so damn important. Clarke can’t kill Lexa here. How much easier would it be for her to shut her heart out entirely, to blame Lexa for everything and just kill her without feeling anything? I bet in that moment, a part of Clarke wants that. But Clarke feels, and she feels for Lexa. She has these feelings and they won’t go away, not even when she’s at her lowest. So yeah, not a romantic moment, but definitely essential to understand Clarke’s complicated feelings for Lexa.

After the bow, Clarke is a little more trusting towards Lexa, but she’s definitely still closed off, she’s not ready to expose her heart yet. And we get to the “I’m doing it for my people” episode, 3x04. Right from the very beginning, Clarke spends the entire episode trying to find a way to keep Lexa safe, to protect her. But every single time she voices her concerns to Lexa or hell, even Titus, her preoccupation feels far more personal than political. She’s worried, she’s agitated, she even seems angry that Lexa won’t listen to her and step away from the duel. It’s a crescendo of apprehension and frustration and anxiousness as every single one of Clarke’s attempts fails, crescendo that culminates in an emotional explosion.

The second gif is particularly telling. Titus interrupts them, the moment is gone and Clarke finds herself having to face what just happened. Look at her face, at how she looks away from Lexa and sucks a breath through her teeth. She’s restraining her feelings, but she’s a little too late this time. And it’s not only Lexa who is shaken by Clarke’s emotional outburst, it’s Clarke herself too. She doesn’t catch herself in time and now she can’t pretend with herself that those feelings aren’t there. I think this is when the true first “shift” after the betrayal happens. Clarke wants to keep Lexa at arm’s length but Lexa might very well die that same day and, despite any resolution she had, the thought terrifies Clarke. And she’s so scared that she’s never going to see Lexa again that…

I could write an essay on all the emotions Clarke experiences before and throughout and at the end of Lexa’s duel, but the gist of it is that during this tense moment, with Lexa’s life on the line, she can’t bring herself to hide her feelings. It’s all there, on her face. 

Only when things settle down she is able to collect herself again. Lexa comes visit her that night and we see Clarke pull her walls up again. “I was just doing what was right for my people.” BUT! Even if Clarke is not ready to open up her heart again, that scene is infused with intimacy. Even Clarke’s “rejection” is filled with emotion.

Clarke is the opposite of cold here. The way I see it, she is pulling away because she’s realizing she’s close to giving in, but she’s not yet ready for that. It’s so clear that here Lexa is talking about what happened at Mount Weather too, this is another quiet apology that Clarke obviously recognizes. If she went with her feelings, Clarke would have to admit that she does understand Lexa, that in her heart maybe she’s already forgiven her. But in that moment it’s too overwhelming, so she looks away and avoids the conversation, avoids Lexa’s gaze, avoids having to focus on her feelings.

She literally keeps having to look away because things get too intense but at the same time there’s a tenderness in her eyes that she can’t hide. And once Lexa is gone and she can breathe… bam

All the feelings she restrained, everything she tried to hide merely minutes ago hits her full force. I said I think Clarke’s love for Lexa developed gradually, naturally, but if I had to pick a specific moment and say that’s when Clarke realized she’s in love with Lexa, it would be this one.

By the time we get to 3x06, I do believe Clarke knows and has accepted she is in love with Lexa, but she’s still struggling to admit it out loud, especially to Lexa. That episode happens roughly 7-10 days after the events of Hakeldama, and when we see Clarke and Lexa again, they are closer than ever. There is a sense of intimacy, of almost domesticity between them. They are comfortable with each other’s presence. There’s not really a reason for them being in the same room in that scene: Lexa fell asleep while reading and Clarke is drawing (there are other sheets in her folder, which makes me think she was drawing other things before focusing on Lexa). They don’t have to talk or interact, they simply are together.

When Lexa wakes up from the nightmare, Clarke doesn’t hesitate to jump next to her and comfort her, with soothing touches and calming, reassuring words. And then we get to the moment Lexa notices the drawing. A lot has been said about Lexa’s face, but instead look at Clarke’s.

This is the exact opposite of what I was talking about in 3x04. Lexa sees the drawing and is taken aback. That she doesn’t know whether she should hope for anything is another story, but the look she gives Clarke is very telling. And Clarke doesn’t avoid it. Yes, her first instinct is to play it off as something meaningless. “Uh, that’s not- it’s not finished yet.” But then Lexa looks at her, confused, surprised, a tiny bit hopeful, and Clarke meets her gaze and they just stare at each other. Look at that little pause she does before lifting her eyes. That’s when she chooses not to hide. As I said, I think that here Clarke has come to terms with her feelings for Lexa, but here for the first time, she doesn’t hide them from Lexa. Her look is just as telling as Lexa’s. They aren’t saying a word and this is one of their most honest, important conversations. Clarke is silent, but her eyes are speaking, her untold feelings are there, and maybe letting Lexa know isn’t so unfathomable anymore. Maybe, maybe Clarke this is the closest Clarke has been to being ready.

So this is what i think. The way I see it, it’s tricky and complicated and simply beautiful.

Writing is Hard, Part 5: Headcanons

Summary: Dean shows the reader that there’s truth to a famous headcanon.

Read Part 1 Part 2 Part 3 Part 4

Warning: Smut

Word Count: 3000ish

A/N: This is all written with love for fan fic. I’m teasing, not putting it down in any way. Hope you enjoy! (Sorry, tag list is closed!) XOXO


“Reading anything good?” Dean asks.

Sam’s inside the gas station, picking up some snacks instead of listening to this conversation, so your face doesn’t feel the need to flush with embarrassment. Dean already knows exactly what you’re reading.

“I guess,” you tell him. No need to feed his ego by telling him how hot the story is.

“What is it?”

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Lovecraft talk: Aku, Ashi’s wraith form and the Beast in OTGW and why they look the same

A lot of y’all are comparing Ashi’s wraith form with the appearance of the Beast from Over the Garden Wall. I’m not an expert in Lovecraftian horror, and it actually won’t take a lot to explain why these designs look alike, but instead of going into painstaking detail about it in this post I’ll just provide some links below:

HERE is where I mentioned that Aku is a direct reference to the outer god Nyarlathotep. Some folks were kind enough to support that claim and I’m sure they and many others noticed it already far before I did.

HERE is where I mentioned the Beast from OTGW also as a direct reference to Nyarlathotep. It’s a long read but dig hard enough and you’ll find it there.

To add to this, here’s a picture of Nyarlathotep. Looks like Aku’s tower and shadowy tentacles, right? But there’s more to that.

Here’s a picture of it, closer, along with the real form of the Beast. Notice the faces on their bodies, and the fact that Nyarlathotep is sometimes referred to as the ‘faceless god’, and that he considered humans his toys. Because, man, think about it, of all places, why does Aku settle on Earth? And why hasn’t he destroyed us already? He destroys other world but not ours. That’s because we have too much value to him as playthings. I mean just consider the obvious fact that he’s fucked with Jack’s head enough times to disturb him for several lifetimes. This is what the Beast literally did to the Huntsman in OTGW. Aku has little to no actual interest in physically destroying Jack and the rest of humanity because without us he’s bored as shit. He’s even bored out of his fucking mind without his favorite toy to mess with, Jack.

Also notice this reoccurring theme of trees and birth and children. And I’ll only mention Ashi once. It’s not a mere coincidence that Aku or the Beast and even Nyarlathotep have the physical attributes of…how the Scotsman words it, a tree ogre. The Beast was a literal demon tree made out of the remains of children, and it was blatantly shown in the show how the children even transformed into eldritch abominations, the edelwood trees, before being consumed by the Beast. And they bled black blood which served as the oil for the lantern. Note it, BLACK. Jack was born when his father banished Aku and cursed him into the ground as a darkened wooden stump. Ashi was born out of the murky tar-like tree sap that came from Aku after her mother imbibed it into her system. So it’s no question Ashi’s wraith form or whatever you wanna call it would take the same physical attributes as her father. You can even say she’s a demi-god or a kin of the cosmos because of this. Even in the video game Bloodborne, the Moon Presence who inhabits the nightmare realm, makes its appearance near the nightmare image of the Great Tree in the city of Yharnam. And as if the ideas of cosmic horrors, trees, and birthing children in line with the existence of eldritch gods aren’t fucked up enough especially with how it all seems like a gross parallel to the idea of the Tree of Life in the Book of Genesis in the Bible, here’s a bunch of examples of the human placenta. GODDAMN it looks like a tree.

Lastly, and this is probably just me geeking out over and celebrating Samurai Jack, Bloodborne and H.P. Lovecraft altogether. Here’s a side-by-side picture of the lunar eclipse that freed Aku from his banishment and a picture of the Moon Presence in Bloodborne when it makes its appearance shortly after the blood moon surfaced. Fuckin A this is all some refined spooky shit and I love it. It’d be bullshit to call this a coincidence at this point.

That’s all. I hope you guys enjoyed reading.

Imagine

Here’s my meta about the last clip of episode 5.

  • Our intro shot of the karaoke bar introduces our players. I’m especially interested in how we see Mari and Sara twice each (and sharing one shot).
  • May I just say: I am glad my son Eskild is alive and Extra.
  • We have Chris talking to Sara (we don’t see Sara’s face but it’s her jumper) 👀
  • In general we have a big focus on couples (including Evak) and russebussen people. Showing, again, this season’s themes (love and identities/belongings).
  • We have some Chris and Eva talking about wiring money, which seems like foreshadowing to the russebuss contract and payment.
  • Even is about to sing and no one ships Evak more than Magnus.
  • @newlevelofdesperate​ wrote a great meta about Even singing “Imagine” by John Lennon. I agree with most of it.
    I’ll just add that the song is ironic, just like “I’m Not In Love” in s3e5. “Imagine all the people living life in peace.” Sana is feeling the song at the moment. She feels that everything came together, finally. But it’s not true. She wished she could create world peace (if you gave her the power to do so she would, she really would). But she can’t. Some things are beyond her reach and she still hasn’t managed to reconcile her two identities (Norwegian & Muslim).
    Also, I think the song is as much an Even song as a Sana one. Once again.
  • We barely see Mikael walk in, and Elias and the gang look around. Yousef seems to be looking in the crowd for Sana. 
  • No shot of the squad until we get a shot of Even seeing them. Then Magnus and Jonas turn to see where Even is looking (not Isak or Mahdi) and we get another shot of balloon squad: no Mikael. Adam and Mutta seem unconcerned. Elias though sees Even and is not smiling (but he’s not looking mad either).
    He grabs Yousef who was smiling towards Sana and…the smile falters.

[this is getting long so I’m adding a “read more”]

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Paper Stars

Summary: Dan starts to get love notes in his locker in the form of origami stars, so he gets the help of his best friend, Phil, to figure out who it is.
Word Count: 2,398
Warnings: cussing
A/N: Thanks to @insanityplaysfics as always for giving me ideas. I’m a fucking sap recently because my boyfriend proposed to me and I just wanna write a crapton of fluff and puke rainbows everywhere. This is short and sweet, which is very rare for me! I hope you like it anyways!
Read it on AO3

-

The day Dan opened his locker to a strange slip of paper folded into an origami star was one of the strangest moments of his life.

“What,” Dan said simply, giving the offending paper a strange look. He bent down and retrieved it, staring at it long and hard. It was thin, made with a flowery paper, and he could just make out words written in very small print on it. “What,” Dan said again.

With a small amount of struggle, Dan managed to unwrap the star, revealing the writing inside. The script was sloppy to the point where Dan thinks it was written with the wrong hand. Dan said “what” again and the word didn’t even sound like it was real anymore. It took him a few minutes to read what it said due to the scribble, but he eventually managed.

‘i used to stare out the window because i thought the scenery was beautiful. Then i saw you and suddenly the world didnt seem nearly as captivating as before.

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

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

I have found one way to connect every loose thread.

Topics resolved include:

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

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

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based on this post where lardo and shitty are accidentally pregnant

She was five weeks in and nothing was showing, but she’d been puking almost everyday and had refused Bitty’s pumpkin pie yesterday. Lardo hadn’t told her mom yet, and Shitty refuses to tell anything to his father, but she knows that his mother knew. Jack had called her immediately after Shitty freaked and told him a week ago, before freaking out himself and telling Bitty, who had broken into their apartment in order to make sure she was okay.

“I’m okay, people should stop asking me if I was okay, I’m pregnant, not sick.” She complained to Jack, who only answered by giving a silent nod.

“Shitty’s freaking out,” Jack said instead.

“I know.” She groaned and put her face in her hands. A moment of silence passed between the two before she lifted her head again. “I don’t want to chain him down like this or jerk him around emotionally. I know he wants me to keep it.”

“He wants whatever you want,” Jack said.

She knew that, but she could also read Shitty well enough to know that he was ecstatic and wanted nothing more than to have her keep it. And the scary thing was, she could also feel herself being as excited as he is.

“How are the two of us even remotely qualified to be parents? He’s just starting his job, and I have my job.” And Lardo wasn’t sure that her bosses would let her take a maternity leave. And even more terrifyingly, she just realized that she wasn’t on the life track that she had envisioned for herself with this job. Sports management paid a lot, and Lardo knew she was on the fast track to a good promotion, but now this forced her to look at her life, and she wasn’t sure she wanted to spend it all on picking up after athletes. But she wasn’t sure if she could provide proper care if she didn’t have this high paying position. And it was a downward spiraling mess of disaster.

It was as if Jack could read her mind, or at least the mood in her mind, because he puts a hand on her shoulder and leaned back on the sofa that they were sitting at.

“Maybe you’re thinking too much,” he said. “Just concentrate on whether or not you want to keep it, and trust in your friends to help you no matter which choice it is. We’re a team.”

She sniffed, and suddenly Jack found himself with an armful of Lardo. She let her tears and snot stain his sweater, and he held her through her trembling. When the two of them extricated themselves from their situation, Jack extended a fist, and Lardo bumped it.

“Got your back,” they said together.

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