you are your story

your father was an inventor. you knew better than to trust him in the center of town. he came home with scrap metal and built ships to glide on the grass. when you were young, you loved him for making. for a brief five years, you hated him, embarrassed of the town loon, embarrassed of what raised you.

but time shifts things. the man in town wants to marry you. a beautiful man by every account, and you hear many accounts. your nose in books doesn’t stop the stories of him: Gaston, bright, young, proud. Gaston, who could hunt and carve and flex his muscles. who forgot even himself what was true and what was fiction. it is a small village in paris, at the base of a kingdom. he is the bachelor you should have your heart set on. 

you try to teach yourself to love him. he grins at you over beer mugs. never reads the books you suggest to him, drops one in the mud. and one night you hear him, drunk and singing, laughing with the others about your father, the crazy.

that night your father brings you a single white rose from a garden. you kiss your father and think of Gaston’s log cabin, where you could live in comfort.

they come for your father in the night. he is the property of the prince, on account of theft. his hands should be cut off and sewn to the walls of his house, to remind him of his failures. an inventor without hands is a death sentence. they come with fire and hatred. rip you out of bed. your knees hit the mud. you’re too small to fight them. they tear your father away from you, and your heart out of your chest.

you run to gaston. tall, fast, manly. you beg him. it’s a mistake, you cry, you must help - you gulp - and then we will marry. 

gaston laughs and slams oak door against nose. you stumble back, feeling like a knife is in your throat. you take the wagon horse and ride improper, legs spread and bent forward, none of the lady your mother would have wanted. you ride for the life of your father.

at the door of the castle you stop. it is raining. you shout and rave and beg anything. take me, you scream, if you’re listening i’ll do anything. what do you promise on that doorstep, crying yourself empty? what do you promise to keep him alive, to keep him whole, to keep him healthy?

the door opens late. no one is there. you remember, suddenly, the tale of the beast who lives here, who ate the prince, who is terrifying. you think you hear your father and suddenly you are running, following his voice down dark hallways with no ending. 

he is in a cell. his head is bleeding. you feel your breath hitch. 

“will you?” a voice says, “will you trade yourself for your father, take responsibility for his sin?”

“he’s innocent,” you snarl, “you animals.”

“the rose, belle,” he whispers, and you stare at him. a white rose that is wilting beside your bedside would have been the death of him.

“take me,” you say, somehow empty and full at the same time, “if that’s what you need.”

the first night is ugly. you spend it crying. 

over time, the castle learns you, and you learn it. you think you are imagining the talking furniture for most of it. invisible hands whisk food in and out, bring you ball gowns and petticoats and delicate flowers. 

and always, the beast. at first, you were terrified of it. always in the shadows. moving like a ghost, prowling. tall, slim. menacing. never showing any skin, any proof it might be human.

but time and comfort destroy fears. you don’t run when it is in the room, you no longer shield your face in fear. it wears a mask, and this is how you know it really must be beastly. 

it is the second winter when you, playing snowball fights with the statues - you manage to hit the beast in the face. you freeze, and the panic from the day they took your father returns in a firework.

but then the beast is throwing back. and you are laughing. the next morning it is at breakfast with you, and lunch. it comes and goes, and never speaks. laughs, sometimes, you think. talks with its hands. the furniture translates. you learn, because you are good at learning. the hands that mean can i come in? the hands that mean are you hungry? the hands that mean is it okay if i read next to you, here this book is good, i found this for you.

each morning you wake up with white roses by your bedside. you learn to talk a little louder than you’re used to, to move your own hands in a way that acknowledges the beast. it is strange that you were a quiet girl and now you are comfortable shouting. the two of you have your own language, together. . it teaches you swordfighting, you teach it dancing. it teaches you archery and you teach it cooking. you walk through the gardens together. there are moments where your hands touch and for some reason you blush like it was kissing. you’ve never had someone who understands you so completely. sometimes you tell it about far-away stories. sometimes you tell it about your village. and sometimes, when you are raw, you tell it about gaston and the marriage you didn’t want and your father and his insanity

one of these nights the beast brings you the mirror. you cry when you see your father. and the beast is pulling you, running, picking out a horse from the stables, gesturing. go, go. you cry when you leave.

you save your father. tell him you’ll bring him back to the beast. do you talk too loud? is gaston only mad you never belonged to him? when the raid starts, you are still taking care of your father. outside, voices, ringing. kill the beast. you think of hands, dancing in the air to speak, and you think you have never heard something so ugly. you’re ashamed to be this species.

you ride in their wake, your father safe. you ride that same panicked race as three years ago to the day. 

you fight, because the beast taught you how. the castle fights, because it is protecting its life. and the beast - you watch the flash of a blade, careful not to kill - the ability you once mistook for savagery. 

it isn’t enough. gaston, and a gun. the three of you stand on the balcony, you in between. again you are begging this man, who means nothing. “leave the beast,” you say, “take me.”

“i’ll have both,” he says, and shoots. you feel the bullet streak by you. the beast is all movement, has pushed you out of the way. they grapple, and you scream when the beast falls, skittering. gaston marches over and you move without thinking. he falls into the night silently. 

you can’t get there quick enough. you gather the beast into your lap, begging be okay. at the mask, you whisper something, and then say it again with your hands. i love you, you say. you were the best thing to happen to me.

the mask slips. a voice says, “belle,” and you are hit with the full force of something that feels like music. you can’t breathe. 

the girl beneath the mask is beautiful. her blonde hair spills across your legs. she touches your face and her hands say i’m okay, and you’re laughing. you kiss her and roses open up in you. 

“i thought you were a beast,” you say with hands and lips a hair above hers, “and here you are, the beauty.”

she smiles sheepishly. it is hard when you are like me. 

your are sobbing. you kiss her again, because you can, because she’s here and perfect and the answer to questions you didn’t know you had been asking. 

her hands, curious, worried, search for your wet cheeks. i’m okay, really, belle. you saved me.

funny, your hands dance, i was about to say the same thing.

luke0maker  asked:

Yeah, but when the dog pick the special atack of Paps... it just look like a regular bone, but I respect your opinion ^-^ And i like the blaster idea. This guys should stop to realize that this story is yours, if you want to make a dark Asriel you can, simple.

I’m pretty sure his special attack is not a bone, and I’m pretty sure that we all can see what Toby wanted to imply here.

8

Fell’s Heat - Fanarts!

A little gift for @canadian-buckbeaver (+18) / @dragoonmaster1212

I found you and your stories a while ago on A03 – and I fall in love with your style and ideas! I just adore your vision of sweet Fell!Pap (especially in “EdgeBerry’s Second Chance”). You’re so inspirational for me! I really appreciate you work and I’m looking forward for new chapters! (especially for “Fell’s Revenge… *evil smile*) All the best for you! :D
And I hope you don’t mind and you like it! :)

WARNING! This story has got NSFW part, so please don’t read if you under +18! You have been warned!

Story belongs to: Canadian_BuckBeaver (AO3)
You can read story here! – AO3

P.S. I’ve planned this for a while and then you surprised me with rebbloging and liking my art-stuff! So, thank you for that! It means a lot for me! And it’s not a problem with “creeping through my profile”, dear~ xD

another-wided-eyed-girl  asked:

Happy birthday!!! Hope you have a great day and thank you for giving us the gift that is your comic^^

OMG! Thank youuuuuuuuuu  ❤️!!!  And thanks to you for giving me your warmth, your love, your interest about the story and to me as an artist! I really appreciate it! Best gift ever!
Love you guys!

Alternative Interpretations of Body Language, Part 1

So I found this cool table in one of my ‘how to be a therapist’ textbooks that seems like it’d be super helpful to writers. There’s a lot of lists out there of emotions are linked to certain expressions and gestures, but not many that go the other way around - providing alternative ways you (or other characters within your stories) can interpret body language.

I’ve adapted it to be a little more understandable. 

Under the jump because it’s long.

Keep reading

my-kinda-funny  asked:

So I googled best episodes of Tabletop, and it kept coming up "Fiasco". So I watched both episodes and absolutely loved them. You guys so got into your roles, it was amazing. Then I seen the setup episode and was like "oh crap", should of watched that first, but then something awesome happened, I watched the setup episode, and as i was watching it, as someone who already knew the outcome of the story, it was amazing to watch how you crafted your characters and set up your characters, It was fun.

Aw, thank you!

anonymous asked:

Hey so like, I've been reading your prompts and like, they're amazing! I was wondering if you'd be able to help me? I'm trying to write a story where two characters meet for the first time, and I wanna make it like all sweet and happy, without it being really really cheesy? It's two dudes as well so I'm wondering what would be best to write? Thanksss :)

Aw thanks sweetheart! I’ll see what I can do…

Okay so I’ll start by saying that their might be a reason they met one another, or their meeting might be a result of something. Think about ways they may cross paths:

  • Mutual friends.
  • Clubs, bars, Cafes, etc. Working/customer?
  • Friend/Family events- Birthday’s, Casual parties, Formal parties (black tie, masquerade etc.), Summer evenings/picnics- large group?, etc.
  • Working together? One could be paired as the others 2nd or assistant etc.
  • Internet buddies ^_^
  • Gatherings, conventions, exhibits, festivals/gigs- Comicon, Coachella, Vidcon, Bestival, etc, etc… (Also if anyone wants to fly me out to New York Comicon, I’d marry you.)
  • New in town/city and looking for a flat to rent with someone? Ads in cafe windows?
  • Holiday destination? 
  • Friend of their Ex… :/
  • Common interests: Music, Arts, Tech, Cooking, Sports/athletics, Retail, Writing, etc.
  • Childhood best friends, but were forgotten about since one left town and didn’t return, showing up years later to finally clear out the house that his parents rented at his (original) hometown.
  • Favours- Friend of a friend needs help with something or other…
  • Regular journey’s together- train journey’s where both always refuse to make the first move until…
  • Parents are friends? You know that awkward “Oh have you met … ? He’s really nice, I think you’ll get al-” “Mum! I’m not 11,” then whispering under his breath “Damn, he cute…”.

I’d also say that you might want to write in 3rd person. I know I always suggest this, but it’s really great! You can explore both characters thoughts and feelings without confusing the reader by constantly changing the character perspective. If you want the reader to embody the character then write in 1st person and if you want it to sound as if you’re telling the reader what is happening around them, or what’s going on: “You stepped out of the cabin, shielding your eyes from the sunlight…” You get me?

I’m not sure if that helped, but I hope it did, drop a DM if not XD Good luck and lots of love from Yasmine xox

Little Battleborn Things #953

tfw you FINALLY manage to bring yourself to play Battleborn again after almost a month, and ALSO manage to beat The Algorithm on your second time (the first time was a wild tale) by being an asshole as Marquis and standing just out of the enemy’s range, and then annihilating them from a distance:

*another skdjasldka submission from the badass Battleborn automaton-dreams. 

anonymous asked:

Why kaespo? Can you explain your url? Pls

Alright friends, story time.

I’m a weirdo and my boyfriend’s last name starts with Espo so I decided to just take that now because we’re going to get married one day anyways so, like, why not just take it now. Amiright?

And my first initial is K, second initial is A.

k+a+espo , a nickname is born.

So I kinda just went with it.

:)

Am I crazy?

anonymous asked:

last night i dreamt i snuck into bts' concert and was at the very front where jin was and when we locked eyes, i did the most romantic thing dream me could think of: i shot finger guns at him in the dorkiest manner lmao. dream jin smiled but was kind of confused abt it and when i woke up, i couldn't stop laughing. i mean finger guns jesus. dunno just felt like telling u. have a good day!

You really did dream of Jin anon, look at you GO.  I tried, didn’t work out for me (that I could remember) so I’m glad you told me your dream.  It’s funny and fun just like Jin heh < 3 

And Anon, I bet Jin was only confused because he was ‘like holy shit where did this person come from and why are they wearing Jammies’ otherwise he would have fingergunned right back at you because BOOM BOOM BOOM 

shortystorywriter  asked:

I don't know how to start this off so... first off all... thank you. a couple days ago I submitted the prompt 'becoming the worlds most powerful person by accident'. and when i saw you make a story with it and people loving it. it reminded myself that i still had some creativity left in me (because I nearly had given up on writing all together) so thank you. for still making me belive I can keep writing (awsome story on the prompt btw)

Wow! And I’m so glad! That prompt was absolutely wonderful! I absolutely believe you should continue to write because I need to see more of your stories and ideas!

Story Summary: Your best friend asks you to pretend to be his girlfriend for a family gathering and you reluctantly accept his request.

Pairing: Steve Rogers/Reader

Part 1
Part 2
Part 3
Part 4 - Coming soon…

I’ve re-watched Storm In The Room a bunch of times already and I will probably do so a lot more for the rest of my existence but I just wanted to write down my feelings on how it highlights once again one of my favorite things in Steven Universe’s storytelling: patience. 

As creators, it’s always difficult to regulate how you show information to your audience. You know a lot more than they do about your story and you’re most likely eager to tell them everything, so choosing how to present it and when is very important for the flow of the narrative as well as to generate whatever effects you’re looking for in your audience. I always looked up to Steven Universe because it’s one of the most patient shows I’ve ever seen, when it comes to exposition and narrative flow, especially for a kids’ show. It’s not slow, because the plot moves perfectly and information is released at all times, but it’s done in such small amounts that, when you reach an important point, you realize how much you needed to know to get there and how much you’ve already learned without even noticing. That shows great respect to an audience, from those who create, and great trust in the show, from those who distribute; especially when we live surrounded by content that is incredibly fast-paced and immediate, and even more so in kids’ shows (this is why I’m upset by irregular releases and how in some countries it’s aired out of order, that’s disrespectful toward the show and the audience, but that’s another matter). 

Steven Universe uses this patience with clear narrative intentions. For example, I’ve always found brilliant how Garnet was introduced as an individual character first (and for 51 episodes, at that) and an experience of Ruby’s and Sapphire’s love second, so people (especially kids, the true audience of this) get to know their love before they know them individually, before any sort of prejudice they might be carrying could influence their perspective. And by the time that arrives, denying their love would be denying Garnet’s existence, and who would dare do that? 

But the reason why I end up praising this again now is because this show is, ultimately, a coming of age story. It’s Steven’s story. That’s why the balance between human issues and gem issues is so important, that’s why every episode adds something. One of the issues I come across in storytelling (especially for kids) when a parent figure is missing is the simplification of the relationship that character has with the idea of the parent, especially when the parent/s are regarded as heroes by whoever is around the character. Steven’s relationship with Rose is never simplified and it’s detailed in breadcrumbs of information throughout the show, since the very beginning. When I imagined an episode like this back in season 1, I would have never known it would advance to such emotional complexity and moral dilemmas, but it all resulted from the sum of parts that where carefully placed in our way. I saw from afar the fandom itself going from seeing Rose as a distant and mysterious figure to intense moral arguments on what she had done and what point in the good/evil spectrum she was on. Because not only we learn things at Steven’s pace, we see how things affect him directly, not in a detached manner but in a close perspective. This is also influenced by the fact that Steven is a main character which people really like in general, which is something that doesn’t happen as often as it should. A lot of writers struggle when creating lead characters, they tend to end up with bland or simplified characters people aren’t as interested to read as the flamboyant side kick or the cool mysterious partner. Steven’s character development, the treatment of him as a complex individual and the way in which we see information as it’s presented to him, whether he interprets it the way we do at the time or not, is a winning combination. It allows us to be more than observers, to get involved

That is storytelling at its finest, that transformation of people’s perspectives, the moment in which you question what you thought and wonder and ask questions and don’t stand still. When you’re not just entertained but you’re actively participating in what you’re witnessing. And this would have not happened if we had known all this in seasons 1 or 2. If Steven had known from seasons 1 or 2. This crew is patient because it trusts its show and its audience and it has a handle on information that I admire as a creator and as a part of the audience. Their patience allows this level of complexity with an organic flow in narrative, taking subjects as heavy as war, political turmoil, social rights, equality, grief, identity and love and breaking them down to small pieces, which add up to a very complex scenario and pushes you to question your perspective and analyse everything you thought you knew or learn it for the first time. I just admire this show so much. 

anonymous asked:

Do you know any good fanfics about the fahc with no shipping?

Okay, I’m gonna be honest, I haven’t read that many FAH stories, but here’s a few I found for you Anon:

Saving Gavin Free by Storybreather221

Local Gods by oct1en3one ((I come back to this one every chance I get))

Perforation by Vertiga

anonymous asked:

im writing a cute little story about how a guy lives across from a flower shop and always sees this cute guy go in and buy flowers but never approaches him because he thinks he has a girlfriend but in reality his mom is dying and has haphephobia and is depressed and one day he doesn't come back (suicide) and they boy in window wonders were he went and suggestions on how to improve?

Okay, I don’t know if I’m understanding this correctly, but here’s what I’ve figured: Guy 1 lives across from the florists, but refuses to make a move because he thinks he is already involved. One day, Guy 2 stops buying flowers (this is where I get a little confused) because his mother is dealing with depression and haphephobia, eventually leading her to suicide and cutting out his need to buy flowers? It’s either that or he commits suicide? I’m slightly confused, but I prefer the first option so I think I’ll have a look at that one, If I got that wrong, just DM me! I feel so rude not knowing, I’m sorry ^_^

Okay so my first thought was whether the two ever actually make contact? Does your other character ever make an excuse as to buy flowers, so he has a chance of meeting your protag? (I’m assuming your character looking after his mother is the protagonist of the story?) Think about how you could incorporate the mother-son relationship and if he ever opens up to her if/when he meets the boy across the street. I thought about him telling her about the boy whilst she was unconscious at first, but gradually he tells her about him a little more. I don’t know the relationship between the mother and son, but it seems to be pretty strong for him to be buying her flowers everyday!

If I’ve got this totally wrong and you’re actually planning on killing of your lead character- Please don’t! If it’s clear form the beginning that the guy across the street is always looking out for him, the reader will find it pretty distressing that their main character (whom they’re rooting for) died. Much like in Harry Potter, If he had’ve died at the end it would have been a total let down, instead JK decided that she’d make his backstory tragic and to kill of all remaining ‘family-members’. Because I’m still not over Sirius’ death…

It will be more tragic and moving if the reader is empathising with the main character rather than being distraught from the story being cut short due to his death. This is why it’s important to have a small (Actually fairly large) network of friends or supporting characters. These can be:

  • Brothers/Sisters
  • Cousins
  • Aunties/Uncles
  • Nephews/Nieces
  • Childhood best friend
  • Other groups of friends
  • Acquaintances- shop attendant at florists?
  • Partners
  • Children- does he have any kids? (plot twist!)
  • Family-friends. Mothers friends?
  • Half brother/sister
  • Step brother/sister
  • Ex partners
  • Rivals?

It’s all very dependant on the characters traits as to what other characters you may include. I don’t know if that’s understandable, but I tried XD

It sounds like an awesome idea and I think you’ve got most o fit by yourself, but I wasn’t too sure I got the storyline right, so DM me for more- I’m really sorry! Good luck and lots of love from Yasmine xox

squirrelgirlv2  asked:

Aaaa I'm so excited for the start of skullkids!!! I've been following you since you first posted about it, and it's been such an adventure to see the worlds and characters get fleshed out. I've given you a lot of anon compliments along the way tbh ;^^ but it's so exciting to see your project finally happening! Thanks for not abandoning it halfway through!! :D

Thank you so much~! I’m glad you stuck with me for all this time. Skull-Kids! has really come far from it’s original concept, which was to be a one-shot music video of sorts, but over time I ended up wanting to make a story, and now here we are. Thank you for your support~!!!