you can take off the word scene and it would have sense either way

Drafting: The Theory of Shitty First Drafts

Writing books often exhort you to “write a shitty first draft,” but I always resisted this advice. After all,

  1. I was already writing shitty drafts, even when I tried to write good ones. Why go out of my way to make them shittier?
  2. A shitty first draft just kicks the can down the road, doesn’t it? Sooner or later, I’d have to write a good draft—why put it off?
  3. If I wrote without judging what I wrote, how would I make any creative choices at all?
  4. That first draft inevitably obscured my original vision, so I wanted it to be at least slightly good.
  5. Writing something shitty meant I was shitty.

So for years, I kept writing careful, cramped, painstaking first drafts—when I managed to write at all. At last, writing became so joyless, so draining, so agonizing for me that I got desperate: I either needed to quit writing altogether or give the shitty-first-draft thing a try.

Turns out everything I believed about drafting was wrong.

For the last six months, I’ve written all my first drafts in full-on don’t-give-a-fuck mode. Here’s what I’ve learned so far:

“Shitty first draft” is a misnomer

A rough draft isn’t just a shitty story, any more than a painter’s preparatory sketch is just a shitty painting. Like a sketch, a draft is its own kind of thing: not a lesser version of the finished story, but a guide for making the finished story.

Once I started thinking of my rough drafts as preparatory sketches, I stopped fretting over how “bad” they were. Is a sketch “bad”? And actually, a rough draft can be beautiful the same way a sketch is beautiful: it has its own messy energy.

Don’t try to do everything at once

People who make complex things need to solve one kind of problem before they can solve others. A painter might need to work out where the big shapes go before they can paint the details. A writer might need to decide what two people are saying to each other before they can describe the light in the room or what those people are doing with their hands.

I’d always embraced this principle up to a point. In the early stages, I’d speculate and daydream and make messy notes. But that freedom would end as soon as I started drafting. When you write a scene, I thought, you have to start with the first word and write the rest in order. Then it dawned on me: nobody would ever see this! I could write the dialogue first and the action later; or the action first and the dialogue later; or some dialogue and action first and then interior monologue later; or I could write the whole thing like I was explaining the plot to my friend over the phone. The draft was just one very long, very detailed note to myself. Not a story, but a preparatory sketch for a story. Why not do it in whatever weird order made sense to me?

Get all your thoughts onto the page

Here’s how I used to write: I’d sit there staring at the screen and I’d think of something—then judge it, reject it, and reach for something else, which I’d most likely reject as well—all without ever fully knowing what those things were. And once you start rejecting thoughts, it’s hard to stop. If you don’t write down the first one, or the second, or the third, eventually your thought-generating mechanism jams up. You become convinced you have no thoughts at all.

When I compare my old drafts with my new ones, the old ones look coherent enough. They’re presentable as stories. But they suck as drafts, because I can’t see myself thinking in them. I have no idea what I wanted that story to be. These drafts are opaque and airless, inscrutable even to me, because a good 90% of what I was thinking while I wrote them never made it onto the page.

These days, most of my thoughts go onto the page, in one form or another. I don’t waste time figuring out how to say something, I just ask, “what are you trying to say here?” and write that down. Because this isn’t a story, it’s a plan for a story, so I just need the words to be clear, not beautiful. The drafts I write now are full of placeholders and weird meta notes, but when I read them, I can see where my mind is going. I can see what I’m trying to do. Consequently, I no longer feel like my drafts obscure my original vision. In fact, their whole purpose is to describe that vision.

Drafts are memos to future-you

To draft effectively, you need a personal drafting style or “language” to communicate with your future self (who is, of course, the author of your second draft). This language needs to record your ideas quickly so it can keep up with the pace of your imagination, but it needs to do so in a form that will make sense to you later. That’s why everyone’s drafts look different: your drafting style has to fit the way your mind works.

I’m still working mine out. Honestly, it might take a while. But recently, I started writing in fragments. That’s just how my mind works: I get pieces of sentences before I understand how to fit them together. Wrestling with syntax was slowing me down, so now I just generate the pieces and save their logical relationships for later. Drafting effectively means learning these things about yourself. And to do that, you can’t get all judgmental. You can’t fret over how you should be writing, you just gotta get it done.

Messy drafts are easier to revise

I find that drafting quickly and messily keeps the story from prematurely “hardening” into a mute, opaque object I’m afraid to change. I no longer do that thing, for instance, where I endlessly polish the first few paragraphs of a draft without moving on. Because how do you polish a bunch of fragments taped together with dashes? A draft that looks patently “unfinished” stays malleable, makes me want to dig my hands in and move stuff around.

You already have ideas

Sitting down to write a story, I used to feel this awful responsibility to create something good. Now I treat drafting simply as documenting ideas I already have—not as creation at all, but as observation and description. I don’t wait around for good words or good ideas. I just skim off whatever’s floating on the surface and write it down. It’s that which allows other, potentially better ideas to surface.

As a younger writer, my misery and frustration perpetuated themselves: suppressing so many thoughts made my writing cramped and inhibited, which convinced me I had no ideas, which made me even more afraid to write lest I discover how empty inside I really was. That was my fear, I guess: if I looked squarely at my innocent, unvetted, unvarnished ideas, I’d see how bad they truly were, and then I’d have to—what, pack up and go home? Never write again? I don’t know. But when I stopped rejecting ideas and started dumping them onto the page, the worst didn’t happen. In fact, it was a huge relief.


Next post: the practice of shitty first drafts

Ask me a question or send me feedback!

Tips for Illustrators (and other artists too!)

I’m an illustration major at MICA (please check out my blog here as a way to support me for making this post!), so this is catered towards what I learned in my illustration critiques and from professional illustrators. I think these tips can go for other artists too, though!

None of these are things that work all the time, but they’re general “rules” I’ve been taught. You can break them, just know why you’re doing so! These are just things I copied from my critique notes, so most are general tips I’ve heard and copied down.

General

  • Enjoy what you’re working on, but be okay with changing it.
  • Anatomy, and accurately trying to portray it, is really important.
  • Time and space can be portrayed through focus and distance.
  • When working digitally, make some of your own textures (traditionally) and scan them in. Adding them into a picture adds an element of your own hand and makes your work stand apart from other digital work.
  • Contrast is a great thing.
  • Saturation is a great thing, especially in watercolor (soak that brush with pigment!).
  • Your style should never draw an obscene amount of attention to itself; it should just work fluidly.
  • Consider what medium(s) work best for your idea.
  • Cover your paint palettes (particularly reusable ones) to make sure dust doesn’t get in the paints.
  • Spin the page when you’re working. The time is takes to do that will show some major improvement in your art!
  • Use dark watercolor and then a light colored pencil on top, never the other way around (it will look muddy and ruin clarity).
  • Make sure to sometime pin or place you piece far away and step away so you can see the whole composition (or zoom out a lot digitally).
  • Consider the genre and audience of what you’re working for (and if it’s yourself, then you’re your own audience!).
  • Illustration is a branch of fine art, don’t forget that.
  • Fantasy art usually needs a lot of high detail.

Coloring

  • Pick an overall color palette to work in, then add in other colors as needed.
  • Complementary colors (ones opposite on the color wheel), when placed next to each other, can pop an object forward or draw attention to it. (Think of a red ornament on a green Christmas tree).
  • Designate the shadows to be either warm or cool, and the highlights to be the opposite. Stay with this throughout the entire picture.
  • All colors have a warm and a cool hue (cool and warm blues, cool and warm oranges).
  • The more saturated a color is, the more it will pop forward in the picture plane.
  • Don’t use colors right out of the paint tube.
  • When making a shadow, tint the color with the complementary tone (it makes it a little more grey).
  • Colorizing backgrounds lines makes them recede in a colored image with line art.
  • Blue and pink tones are great for use in skin tones.
  • Flats need to be fairly differentiated colors.

Drawing

  • The reference should never be an excuse for a misleading or awkward pose. You have the artistic license to alter an awkward pose and not just draw from a photo.
  • With scratchy or textured line art, find some places of solid black too, to allow the eye to rest (or where you want something to pop out).
  • How you render all the elements of the picture is what makes your own individual style.
  • When something is illuminated, it should be the brightest part of the composition.
  • Anything with a straight angle (like the corner of a room) has one wall/side being lighter in value than the other. There is a crisp distinction.
  • Sometimes adding more lessens the strength of the image.
  • Fabric folds are crisp, if they’re too soft they’ll look like clay.
  • Line heaviness and weight can determine depth.

Anatomy/Characters

  • Anatomical consistency is very important.
  • Inside of the mouth is usually dark.
  • Show character motivations with actions and poses.
  • You can crop a face or figure to set a mood.
  • In any and every picture, pay special and close attention to the hands, feet, and face.
  • Learning musculature, even if you use reference, will help you create the body you want for your character. Understand the human form…it’s easier to alter if you understand it in the first place.
  • To pop a figure forward, add a little bit of rim lighting (great with backlighting).

Composition

  • Avoid spots where a line or shape comes really close, but doesn’t cross, the edge of the paper. This is called a tangent and tangents are bad (they suck the eye into just that one spot and stop the composition).
  • Nothing in the picture is accidentally there, it is all drawn by you, so make sure everything has a conscious placement.
  • Don’t crop anything that shows essential character expression (including essential parts of the pose).
  • Never crop a figure at a joint (it makes the limb look amputated unintentionally).
  • Consider how you show detail with smaller characters…what are the essential characteristics?
  • Shapes of color or tone can make great framing devices.
  • For the most part, render the foreground with more clarity than the background…you want atmospheric perspective to be used to make it look like it’s receding.
  • Line heaviness/weight can combat (in a good way) any very dark areas.
  • When the character breaks a border (shape, line, panel etc), it shows dominance.
  • Make the shape of your negative space visually interesting.
  • “Cornerstops” are great. They are a compositional element that visually blocks your eye from running off the corner of a page.
  • Shadows can be a great compositional element.

Narrative Illustration (Portraying the narrative)

  • It is a successful illustration if the story is told.
  • Use every element of the image to tell the story.
  • Sometimes you have to take out elements you love for the sake of storytelling.
  • Think of images as being fast/slow, quiet/loud. What techniques portray these senses for you, and why are you using such techniques? What areas of the picture are slower and faster, why those areas?
  • Indicate how lavish or simple a place is by the details you choose to include in the background.
  • Don’t make it obvious that you “curated” the picture; it should look natural.
  • Cover illustrations don’t always need big and bold text, as long as there’s a strong narrative being portrayed.
  • Something mid action carries the narrative better than pre or post action.
  • You should be able to tell a story without relying on text.

Sequential Art (Comics, etc)

  • Color between panels can draw the eye around the page.
  • Big jumps in narrative can add humor and excitement, just make sure to think of why you are having the jump there.
  • When starting a sequence, make it obvious where you start (establishing shot; biggest to smallest, etc).
  • Make sure panels can read as separate images even if you took the gutter away.
  • Smaller panels are frequently used for faster/quicker actions.
  • Removing the background in certain panels allows the scene to be read faster; you only need one background per page (unless the scene in the background is changing).
  • Style, readability, and timing are key things to keep in mind.
  • Does the punch line/climax happen at the right time on the page?
  • Before planning a page, ask yourself: “How much time is elapsing between the first and last panel?”
  • Consider panel shape and size.
  • The composition, and where the eye flows inside every panel, informs where the eye travels to next…compositionally lead the eye from panel to panel.
  • The more panels you have, generally the more time goes on.
  • Don’t rely on speed/action lines to make things dramatic.
  • Give word bubbles a little breathing room.
  • When doing a graphic novel, you’ll usually have to redraw the first few pages since the characters will come more naturally to you by the end pages.
  • There is a design element to sound effects.

Digital Art (Mostly Photoshop based, but some are general tips)

  • Before printing, you usually want to switch your file to CMYK (though save a file in RGB too). Print at 300 dpi.
  • Before printing, you can up the brightness, saturation and contrast until it just starts to look awkward. You’ll learn the best settings for the printer you print at.
  • Don’t place digital textures anywhere. Consciously arrange them.
  • Don’t overrender. Digital art tends to be the most successful when it feels less digital than someone would expect.
  • If your color scheme doesn’t look cohesive, you can use a fill layer of one specific color to unify everything (Layer->fill layer). Lower the opacity to around 15-30%.
All About Writing Fight Scenes

@galaxies-are-my-ink asked,

“Do you have any advice on writing fight scenes? The type of scene I’m writing is mostly hand to hand combat between two experts. I’m definitely not an expert so when I try to write it, the scene ends up sounding repetitive and dull.”

Fore note: This post is coauthored by myself and one of my amazing critique partners, Barik S. Smith, who both writes fantastic fight scenes and teaches mixed martial arts, various artistic martial arts, and weapons classes.

I (Bryn) will tell you a secret: I trained MMA for seven years, and when I write authentic hand to hand fight scenes, they sound dull too. 

The problem with fight scenes in books is that trying to describe each punch and kick and movement (especially if it’s the only thing you’re describing) creates a fight that feels like it’s in slow motion. 

I write…

Lowering her center of gravity, she held her right hand tight to her face and threw a jab towards his chin. He shifted his weight, ducking under her punch. His hair brushed against her fist, and he stepped forward, launching a shovel hook into her exposed side.

But your brain can only read so fast. In real life that series of events would take an instant, but I needed a full eight seconds to read and comprehend it, which gave it an inherent lethargic feel. 

So, we have two primary problems:

  1. How do we describe this fight in a way the reader can understand and keep track of? 
  2. How do we maintain a fast paced, interesting fight once we’ve broken down the fight far enough for readers to understand it? 

(We will get back to these, I promise.) But for now, let’s look at…

Different types of “fight scenes:”

Keep reading

The Element EVERYTHING in Your Story Needs

To all the writers who have ever felt lost, alone, and completely confused during the labyrinthine journey that is writing anything, and felt like screaming this at your story …

There’s hope.

There’s a light at the end of that darn tunnel. First, let me describe how I used to fight my way out of these periods of confusion and hopelessness. 

Usually, I would try to force myself to get back into the groove of the story. I would reread it, and be yelling at myself in my head, “Remember why you love it! LOVE your book again! Keep reading and FALL IN LOVE, damn it!” I’d go over descriptions, bits of dialogue, banter between the characters. I’d go over settings and imagery, and try to make myself remember how much they’d once excited me. I’d read things that had made me laugh when I typed them, sentences that I was particularly proud of, paragraphs that made me feel particularly clever. But the thing was, it didn’t work. 

I didn’t care.  

What was the problem? The problem was some of those descriptions, settings, images, and witty episodes of bantering had no Story Reason to be there. They were just there because they amused me. Just because I found the imagery beautiful. Just because I found a sentence or joke really clever and wanted to share my wit with the world. But the world didn’t care about my wit. Because the world (the people reading my book) knew subconsciously that there was no story to give that so-called witty sentence substance and meaning. I could create the most breath-taking images, I could make the most well-rounded living and breathing character, I could make a setting that you wanted to run away from home and live inside … and it didn’t matter. If the thing didn’t have a purpose for being there within the narrative, nobody cared. And I didn’t either. 

So what is a Story Reason? 

Everything in a story exists to support one of three things. 

1. The A-story: The surface plot, the quest of the main character to achieve a specific tangible goal. What the story is about on the surface. 

2. The B-Story: The love story, or relationship of the thing. Usually this relationship is instrumental in causing the third element, which is …  

3. The Character Arc. The theme of the story, the purpose, the piece of truth the story seeks to prove to the main character and the audience. 

If something in a story doesn’t contribute to the progress of these three, there’s no reason we should care about it. It has no point. Because in the end, all we care about is the story!

When it comes to scenes, story reason means continuity. It means the way the story unfolds logically. If every scene is there for a darn good reason, the scenes after and before will make total sense, they’ll connect seamlessly, a steady progression of events. Every scene’s turn triggers the next scene. 

And to do this, every scene must be able to be linked with three words: Because of that.

Because of the turn of one scene … 

The next scene happens. 

And because of the turn of that scene the next scene happens.

To illustrate how this works, let’s look at a small movie you might have heard about called Zootopia. (Thanks to @inked-withlove for the movie suggestion!)

So let’s start at this point, the turn of the scene with Clawhauser and Judy searching the file on Emmitt Otterton. 

Turn: “I have a lead." 

Because of that …

Judy has to get Nick to tell her what he knows about Otterton.

Turn: It all goes poorly, and now Nick and Judy are stuck together by an incriminating adorable carrot recorder. (The B Story, the relationship, has intertwined with the A Story.)


Because of that …

Nick takes Judy to the place he saw Otterton go, a place he thinks will cause her to give up. 

Turn: She doesn’t quit, she marches right in. (B Story: Nick sounds surprised, and a little impressed, that she didn’t back down.)

Because of that … 

She has to question a rude yoga-performing elephant. 

Turn: Though the elephant is absolutely no help, the seemingly addled yak is more than helpful – he even remembers the license plate number of the car Emmitt left in. 

Because of that …

Nick thinks his part in this endeavor is complete. But Judy remembers that she’s not in the system yet, and thus can’t run a plate. Nick, however, can. And he’s going to, or else. 

Turn: It just so happens that he has a pal at the DMV. 

Because of that …

Sloths. He takes her to a DMV run by sloths and wastes as much of her precious dwindling time as he can.

Turn: “It’s night?!”

Because of that …

Legitimate Enterprise Car Service (at least that’s what it’s called in the screenplay) is closed. Judy doesn’t have a warrant and Nick is enjoying her suffering tremendously. After a spat, she tosses the carrot over the fence instead of handing it to him.

Turn: Because she has now seen a shifty low-life climbing the fence, she has probable cause, and doesn’t need a warrant. She can go in. (B Story: Nick is looking at her with more respect.)

Because of that …

They find the car and begin investigating. The car is a crime scene; claw marks everywhere, the missing otter’s wallet … and a cocktail glass etched with a "B”.

Turn: And it all adds up for Nick. This car belongs to Mr Big, a notorious crime boss. And his polar bear henchman are right outside. They grab Judy and Nick and yank them off screen. 

Because of that  …

Judy and Nick are wedged between the bear henchman, on their way to face Mr Big. 

Turn: Nick sold him a very expensive rug that happened to be made from the fur of a skunk’s butt. Or in other words, Mr Big really doesn’t like Nick.

Because of that …

They wait fearfully for Mr Big to appear, and even when he’s revealed to be a tiny shrew, Nick still launches into obsequious and panicked mode. He tries talking his way out of it, but Mr Big really REALLY doesn’t like him. And when Judy shouts at him that she’s a cop and she has evidence on him –

Turn: “Ice ‘em.”

Because of that …

“No icing anyone at my wedding!” Fru Fru Shrew is not a happy camper. Father and daughter bicker about his promise of no murder on her wedding day, and the fact that “I have to, baby. Daddy has to.” Until – 

Turn: “She’s the bunny who saved my life yesterday. From that giant doughnut!” Well, Judy is now in Mr Big’s good books. He’s going to pay her kindness forward. Nick is floored. 

I’m gonna stop there.

SO! After going through that analysis of how the scenes are linked together, let’s abandon the “everything needs a story reason to be in there” rule, and see what happens. 

After the scene where Judy and Nick reluctantly join forces, we could add a scene where Nick is trying to remember the name of the place, and where it is. Then we could have them asking around, searching the city, refusing to ask for directions, lots of banter. THEN we can finally get to The Mystic Springs Oasis.

And after they get the plate number, maybe Nick grabs the carrot pen and makes a run for it. Then we can have a chase scene, but he gets away. Then we can have Judy trying to run the plate on her own, before realizing she isn’t in the system, and failing. Then we can have a scene where she has to track down Nick again. Then a scene where she figures out how to blackmail him into it. THEN they finally get to the DMV. 

And you know what would have happened then?

Zootopia would have made everyone bored. 

All of these inserted scenes are unnecessary. Sure, they might add conflict, add complications to Judy’s quest, but they’re ultimately just filler. They’re just there for the sake of bulking out the story. This is why that tip I hear so often in writing circles always perplexes me: “Figure out the worst possible thing that can happen to your character, then do that.” If people went with this rule, they’d just keep throwing terrible things at the characters for no apparent reason, one after another, and the reader or audience would be expected to be entertained by it (but wouldn’t be). It would be like cartoons before Mickey Mouse came along and applied story to animation: before, cartoons were just gag after gag, slapstick situations mashed together like a funny video compilation. Except with books and movies, it would just be conflict-heavy situations strung together, taking an inordinate amount of time to make any actual progress.  

Once you make sure everything has a purpose within the narrative, things get so much better.  And I find, when I reread my work I don’t have to scream at myself to “love your book or else” if everything has a reason for being there. And instead of feeling like yelling at my story like an angry overworked crab, I feel a lot more like this gif.

I hope it works for you too.

The Best Films of 2017 - Mid-Year List

There have already been many great films so far this year, so I felt it worth doing a run down of my favourite films of the year so far. These all reflect the cinema releases we’ve had so far in the UK in 2017 - for that reason this list includes some films that were released in the US in 2016. Enjoy, and I’d love to hear your thoughts on the best films of the year so far!

Honourable mentions: Their Finest, Colossal, Gifted

1. Get Out, dir. Jordan Peele

This film really knocked me for six, to such an extent that I simply had to see it twice in the cinema. It got even better upon a re-watch, when I was able to watch it with full knowledge of the characters’ underlying motives and the things to come. It’s a terrifying concept (the racism of an all-white suburb is taken to a horrifying extreme) executed with incredible panache, and you feel every emotion that Chris goes through thanks to Daniel Kaluuya’s excellent performance. Get Out also represents one of the most brilliantly communal experiences I’ve ever had at the cinema - I won’t spoil it, but let’s just say that the audience erupted into spontaneous applause at a key moment in the climax. Simply fantastic. 

2. The Handmaiden, dir. Park Chan-wook

This film is exquisite - it’s first and foremost a beautiful boundary-smashing love story, and an absolutely marvellous tale of female defiance. It transplants Sarah Waters’ novel Fingersmith to 1930s Korea, and the story is effortlessly adapted to become intrinsically interwoven with its new setting. Sookee is a talented pickpocket plucked from a thieves den and sent as a handmaiden to trick a rich heiress into falling for a conman. To say any more would spoil the twists, but this film is just a masterwork of suspense, keeping you guessing throughout a series of interlocking pieces that take their time to reveal their secrets. I’ve seen the theatrical cut and the extended version, and they’re both great - you’re in for a treat with either.

3. Jackie, dir. Pablo Larrain

This is a film that soars on the strength of Natalie Portman’s incredible performance, which is complemented by Mica Levi’s haunting score. Portman’s performance is painfully vivid, with her agony and wretchedness coming through so intensely that it’s often uncomfortable to watch. Jackie is probably the best portrait of grief I’ve ever seen, and it sucks you into a famous historic event by providing an incredibly intimate perspective on it. This is great cinema, but be prepared for suffering.

4. A Cure for Wellness, dir. Gore Verbinski

This is a delightfully strange Gothic fairy tale of a film, and I’m amazed and impressed that a Hollywood studio gave Gore Verbinski a budget sufficient to pull it off with such beauty and style. I’ve seen this film attract love and hate in equal measure, but I adore it - the trailers set you up for a rehash of Shutter Island, but nothing could be further from the truth beyond the isolated setting. If I had to compare this to anything, I would compare it to Roger Corman’s Poe cycle of films from the 1960s - it has a similarly lurid sensibility and a deep-seated sense of fantastic romanticism at its core. Great if you’re after something uncompromisingly bonkers.

5. Wonder Woman, dir. Patty Jenkins

This film represented pure joy for me - I couldn’t have anticipated how emotional I was going to get at witnessing a (wonder!)woman crossing No Man’s Land and deflecting bullets with her bracelets. This simultaneously rejects the wry self-awareness of the Marvel films and the grim self-importance of the previous DC movies, instead unabashedly depicting a superhero who triumphs thanks to her overriding belief in love and compassion. Patty Jenkins adds endless little touches - from funny moments to quiet scenes where characters talk simply to learn about each other - that enrich the film and make it feel vivid and intimate in a very rare and special way.

6. Silence, dir. Martin Scorsese

This is truly the work of a master filmmaker, and it represents a stunning artistic achievement and a moving and intelligent investigation of the threshold of faith. Scorsese tried to get this made for decades before finally succeeding, and his passion for and belief in the project shine through in every painstakingly crafted frame. Silence is equal parts beauty and brutality, and it uses this contrast to illuminate the painful questions that the faithful must ask themselves when faced with the harsh reality of the present world. It’s heavy stuff, but well worth your time if you’re up for a film that raises more questions than it answers.

7. In This Corner of the World, dir. Sunao Katabuchi

I had no idea this film existed until a few days before I saw it, but I was really struck by its poetic treatment of the joys and tragedies of life. This film follows a young bride who moves to live with her husband’s family in WWII-era Japan, and while it deals unflinchingly with the trauma and horror of war - particularly the bombing of Hiroshima - it’s also surprisingly funny and ultimately hopeful. The power of this film comes through in the little moments of human connection and the way that the full potential of animation is exploited to maximum effect.

8. La La Land, dir. Damien Chazelle

A lovely ode to the classic Hollywood musical, La La Land is a technical marvel that sticks with me because of its heart and humanity (those words are recurring a lot, right?). It tells a very small story of a love affair between two dreamers in Hollywood, but it feels much bigger than them because of the way in which their story is told. La La Land draws from influences across the spectrum of cinema, and its homages to the classics are joyful and loving. The final ‘what might have been’ sequence represents the perfect marriage of raw emotion and filmmaking virtuosity. 

9. Okja, dir. Bong Joon-ho

Not many films can balance flatulence jokes with uncompromising critique of capitalist greed, but Okja pulls it off with aplomb. The core story hinges on the innocent and endearing friendship between a young girl named Mija and a bio-engineered super pig called Okja, and the film succeeds because you totally buy their connection and desperately want the two of them to have their wish and live together in the mountains. I’m delighted that Netflix gave Bong Joon-ho a platform to make such a weird beast.

10. Logan, dir. James Mangold

Logan may be bleak, but that isn’t what makes it great - Logan is fantastic cinema because it remembers that superheroes are still people who struggle with their own souls as much as super-villains. This film features the best character work managed in any of the X-Men films, and Hugh Jackman, Patrick Stewart and - in particular - Dafne Keen give heart-rending performances that really ground the film and give it an emotional core. I hope we get more superhero films like this, and that the takeaway from it for the industry is the importance of stressing character rather than frantic spectacle.

Most anticipated films still to come: War for the Planet of the Apes, Valerian and the City of A Thousand Planets, Dunkirk, The Beguiled, Mother!, Logan Lucky, Blade Runner 2049, Murder on the Orient Express, The Shape of Water, Annihilation, Star Wars: The Last Jedi

Traffic lights are killing kink fic

Dramatic title, but this rant has been building for some time and I need to get it off my chest. Friends, fellows, lovely fic writers: kink fic in fandom lately sounds like someone is reciting a How To BDSM 101 manual and it’s really starting to grind my gears.

It seems lately that, more often than not, any fic I open with even the teeniest bit of kink spends about half the fic being excruciatingly boring and samey about making sure everyone is on the same page when it comes to consent and who is spanking who in bed. As an Actual Real Live Kinky Person, let me tell you about some things that are seriously pissing me off.

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{PART 26} I Won’t Stop You // Jeon Jungkook, Vampire!AU

Originally posted by jengkook

Pairing: Jungkook x Reader

Genre: Vampire!AU, Fantasy, Angst, Smut

Summary; Jungkook attempts to do the impossible; keep Yoongi under control for as long as he can in his own Manor. But, after an unsuspecting escalation - everything ends in tears…and blood.

“How sobering it is, to love something that evil can corrupt”

  • || Warning: This chapter contains violence and some scenes that readers may find upsetting ||

I update this series every Tuesday evening, 9pm-10pm (UK Time) 

{Part 1} // {Part 25} {Part 26} {Part 27}

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Transference (M) – Chapter 07

cr. [X] 

Summary: You and Hoseok struggle separately to process what has transpired between you.

Pairing: Hoseok x Reader

Genre: Angst

Word Count: 7,733

Warning: Tantric!Hoseok, therapist/client relationship, mentions of alcohol, profanity.

A/N:  This chapter contains both the Reader and Hoseok’s POV and will be labeled whenever it switches. It’s a sad one, but necessary for the rest of the series. Hope you enjoy!

Chapters: 01 | 02 | 03 | 04 | 05 | 06 | 07

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PLL ENDGAME FINAL THEORY

Okay guys, so here is my theory. It’s long so bear with me. I hope you’re convinced with this one

In this theory, I will tell you who Uber A is. Who killed Charlotte. Who killed Jessica. How every character is involved in the story. What the initials A.D. stand for. Everything that we are yet to know at this point. 

Who is Uber A? There are two people. A twin of a character we know and her helper. We have an identical twin among us that has been behind everything that we are yet to know. Bethany Young is the twin and she is Uber A. The show is coming in full circle. She killed Jessica, Charlotte, Sara Harvey, etc. Uber A and Charlotte’s killer ARE the same person. She is not here to avenge anyone’s death like they want us to believe. She’s here for revenge for having her life ruined. 

They promoted this new A as the deadliest and most twisted A of all the As (and the one who loves the game the most). That description doesn’t fit with someone who is avenging someone’s death. 

It all starts with Bethany and Charles. The night Marion Cavanaugh died. According to Charlotte, Bethany pushed Marion Cavanaugh and blamed her. This isn’t true. Charlotte killed Marion, Bethany witnessed it, and Jessica covered it. Charlotte blamed Bethany but Jessica paid Wilden to rule it out as a suicide. Flashbacks aren’t always true. It’s visualized on what the person is saying. Jessica wouldn’t cover up the murder if Bethany did it. That’s why in Bethany’s recordings we would hear her saying to someone “she’s a bitch, she’s an evil bitch!” It’s not clear as to who was she talking about but it was definitely Charlotte or Jessica. Bethany drew pictures of Jessica with horns and the word ‘liar’ all over it

Charlotte lied in her story so Alison and the rest of the liars would feel bad for her. This is why some of the things don’t make sense. A big part of her story was a damn lie. Charlotte is the biggest liar on the show. Everything that comes out of her mouth is a lie. Bethany got payback after the time jump by murdering Charlotte and throwing her off the bell tower, just like Charlotte pushed Marion from Radley. What I love about this is that Uber ‘A’ is putting the girls through hell to find Charlotte’s killer when she is the one behind it.

Who’s Bethany’s twin? Spencer Hastings. Mary Drake had Spencer and Bethany. Both are identical twins. One was adopted by The Hastings and the other one was put into family services and was adopted by the Young family and was sent to Radley later on. Before you all say “Bethany was two years older than Spencer and the rest of the girls” Charles was supposedly older than Jason but in reality they were the same age. Jessica and Kenneth came up with that lie to keep the adoption a secret from everyone else as it was revealed in 6x20. Bethany’s information was made up to keep her a secret from everyone

Peter Hastings was responsible for this and this is why he wanted Toby to stop investigating his mom’s death and sign the papers to close Radley back in season 4. The more he was investigating the more got to the truth. 

This is why we never saw her face when she escaped Radley. She has Spencer’s face. And this is going to be the ultimate final twist the writers already talked about. Lets be real, if she was a random girl we would see her face. They could’ve casted literally any blonde for this scene and they would show us her face. We still have yet to see her face as a teenager

One of the biggest mysteries on the show are Bethany’s drawings. There is a drawing of a woman falling (Marion), the picture of a demon (Jessica) taking a kid (Charles) away. We also see pictures of her but they’re all distorted. We can’t see her face

This makes me believe that she has part of her face disfigured or doesn’t want to show her face AND this is why Uber A wears masks

I will show you proof that Mary had a third child (which is the twin) In 7x08, Spencer and Aria go visit Dr. Cochran and he tells the girls that he helped Mary delivered “Two OF her babies” as opposed to her “two babies” hinting about another child. One was adopted and the other was put in family services. Mary was giving Spencer hints about a twin in the premiere telling her how much she and Melissa looked alike. 

This is one of my favorite scenes from 7A because Mary was indirectly telling Spencer her relationship with her parents and how they met a long time ago leaving Spencer confused

What does Sara Harvey have to do with everything? Sara was killed for knowing too much. She was a girl from another town involved in all this mess. Sara ran way from her home and Charlotte kidnapped and forced her to be her accomplice. She used her as a decoy in all the stuff that she was planning to do like “The Lodge Fire”. She knew stuff about Charlotte and was going to tell the girls and run away but Uber A was outside her room waiting to kill her. Never ever underestimate “A”. It happened with Jessica, Mona and finally to Sara. 

I hate to say this but Sara wasn’t the real Black Widow. The real Black Widow is the twin Bethany. She is the ENDGAME. I have proof of this. The first time we were introduced to the Black Widow was in the season 4 premiere titled “A is for A-L-I-V-E” (the title is a clue). Her introduction was really creepy and weird. It felt like a new character that was VERY connected to the story. Whoever this person was did NOT want to be seen in public because either they’re supposed to be dead, they are secret twin of someone or they are looking for them and that’s why she was wearing a mask and we can see this at the end of the episode

In 7x01 when the girls see the fake Hanna hanging in the bell tower. There was a clue that leads back to 4x01. Caleb looks at this phone and it’s 4:01 a.m. The writers tend to use numbers as clues. The episode where we are introduced to Black Widow

Black Widow had the girls as dolls at the lair. Sara may have been bad but having the girls as their dolls is completely twisted and it doesn’t fit her with character. Sara wasn’t wearing a mask when she lifted up her veil. I’m pretty sure the writers did this on purpose so we could catch the fakeness of Charlotte’s story.

Another thing that doesn’t make sense about her story. She shot Wilden twice. Lets be real here. She would know if he was really dead after shooting him. Why would she need Sara to go and check if he was really dead? This makes absolutely no sense. Here is more proof that Bethany is the real Black Widow. Toby was getting messages to take the RV and he would know what really happened to his mom. Who would know what happened to his mom? The witness. -A was helping Toby solve his mom’s mysterious death

What I’m about to say I believe no one has said it before. Bethany was working with Mona but Mona didn’t know who she was working for. Mona created the A game so Bethany could finish it. This has always been Bethany’s game. Mona loved playing the game and the last thing she would do was to reveal herself. Someone KNEW what Mona had done that night Alison disappeared and Mona was being blackmailed about it. She had no other choice than to reveal herself. How do I know this? Easy, Mona saying to Spencer “Either you join the A-Team, or you disappear” 

And of course Mona’s monologue when she’s admitted for evaluation: “I know they’re watching me, I don’t look bad considering… I like this lipstick, what’s it called? Toffee tango? (voice changes) They think it’s over, Loser Mona is going to the nuthouse and those precious liars are going home to sleep with their windows open and their doors unlocked. Don’t they know that’s what WE want?”

Okay there’s been theories that it was Charlotte talking after Mona but it’s impossible because Charlotte was a patient at Radley and met Mona later during her stay. Whoever was talking was helping Mona all along and she was present in the season 2 finale. She was at the masquerade party. She was right in front of us wearing a red dress with a full mask. The camera focuses on her. She has been watching them all along

Now. I will talk about her helper. Her helper is Dr. Wren Kingston. Wren has been an A-team member since the beginning. Mary sent him to Rosewood check on The Hastings and the only way to continue reporting her what the Hastings were doing was to get engaged to Melissa Hastings but he fell for Spencer and everything was ruined

I will give you the biggest clue that Wren is AD’s main accomplice

In 7x01, we see Mary talking to someone on the phone and according to Mona, “It’s definitely a man. I think he has an accent. Maybe Aussie, maybe British. Note: This can’t be Rollins because Mary and Rollins were not in touch for a couple of days

This is going to sound really twisted but I don’t think Mary cared about Charlotte at all. Charlotte was looking for her and she was spending time in other countries. 

Something that hasn’t been explained is why Wren suddenly decided to volunteer in Radley when Mona was admitted there. He volunteered to continue the A game but with a new leader (Charlotte DiLaurentis). Eddie Lamb suspected and knew all along that Wren was bad news

The infamous visitor’s pass. Wren didn’t make the pass for Charlotte. it was for Bethany but under the name CeCe Drake. She used Charlotte’s “alias” when she had her out privileges. She was sneaking into Radley under that name to visit Mona wearing a Red Coat. That pass couldn’t have been for Charlotte because she was already a patient there. All she needed was to get out of her room and visit her. Why would she need a visitor’s pass?

Mona said to the liars in 3x24 “that she made a deal with the devil and she gave me a way in and out of that place”

Charlotte wasn’t giving her a way in and out of Radley because she needed Mona to get out of that place without anyone noticing as she stated in 6x10.

So who was Mona talking to? Uber A. The real Red Coat and Black Widow. 

Only someone who works or was a patient for a long time knows the exits and secret doors. Bethany escaped Radley so she would definitely know the secret exits

Uber A manipulated everyone to do her dirty work. Just like Mona, Charlotte was addicted to the A game so why would she just give herself up? Because someone was telling her what to do. And this is why they introduced us to the board game. This is how Uber A was manipulating everyone. Telling them what to do.

In 6x10, Mona tells the girls that she didn’t tell CeCe about them but somebody at Radley did start sending her riddles and twisted rhymes. More proof that someone else was seeing her. 

The last time we hear about Wren is in 6x17 in a flashback of Hanna and Melissa in a restroom. According to Melissa, he was in contact with Charlotte when she was at Welby. Melissa tells Hanna that Charlotte ruined her relationship with him because he found out that she killed the girl in the grave. Wren was blackmailing Melissa about this throughout 6B. This is why Melissa was terrified if someone else had the tape confession because someone was targeting her.

Now the last question. Who’s in the grave? A stranger that was killed and buried with the outfit. Grunwald rescued Alison and someone with a red sleeve rescued Bethany. There are two different scenes with two people wearing different clothes and rescuing someone. Whoever was identified was killed and buried with the yellow top outfit

You can follow me on twitter @boyfataie if you want to discuss it

Angel in the Darkness (M) pt.3

Originally posted by aestheticvbts

Summary: After a patient urgently pleads you to go and help a friend of his, you naively agree to it. Little did you know, that you would get more than what you agreed to, when he leads you to a brothel, to help a dangerous prostitute named Jeon Jungkook.

Pairing: Jungkook x Reader (ft. Jin, but not romantically)

Genre: Smut (M), angst, mafia!au, prostitution!au

Word Count: 5,997

part 1 | part 2 | part 3 | part 4



I can’t believe I’m doing this again, you think to yourself. You close your eyes, and listen to the engine of the crowded bus, as you were currently on your way to pay mister ‘Kookie’ a visit. You start to slowly replay the scenes of Jin yelling at you, to desperately go back and meet the prostitute…

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a meta about one of the best yet most underappreciated character development scenes in the bnha manga.

this is very long, but i also think it’s very important. please take the time to read, and enjoy this long piece o’ work

ok, here we go.

i’ve been re-reading the manga and this scene is so emotionally charged and so underrated. i’m going to be salty for a bit but stick with me here.

ok, first of all, let’s talk about the details: the baku(rescue)squad’s expressions.

todoroki looks alarmed, shocked to an extent, but mostly confused. the question that todoroki should ask in this situation is “why midoriya?” because technically it’s todoroki’s fault along with kirishima. even though it’s understandable why he’s upset at midoriya, being upset to the point of punching him (despite the fact that midoriya isn’t responsible for the initiation of the mission) is placing too much of the responsibility on midoriya’s shoulders, and it’s unfair. but, we don’t see any of that in todoroki’s expression. todoroki and iida went through so much together and so did iida and midoriya, which is why it’s uncharacteristic for him to just punch him out of the blue. not to mention that midoriya just got out of the hospital, and everyone was worried, so why would he do that? do we see that in todoroki’s face? the answer is no. his expression isn’t accusing at the slightest.

todoroki is alarmed but he’s waiting. he’s waiting for the explanation. todoroki gets his own panel so we can focus on his reaction, but there isn’t much to it, and that’s exactly the point. todoroki is the only one that gives iida the benefit of the doubt, and that’s a good way of showing how much their relationship progressed without touching on the subject at all.

on to yaomomo, who looks shocked to her core. she looks terrified, and i feel so sorry for her in this situation, especially because she’s the one they’re going thanks to. she just wants everyone to be okay. she’s helping with this because she wants bakugou to come back safe, and she’s accompanying them because she can’t send them off somewhere dangerous without knowing what might happen to them. she wants kirishima to be safe and also todoroki and midoriya and iida, and she’s willing to break the rules to do so. seeing iida acting this way and injuring midoriya must be horrible (especially with her kind of thinking… in the todoroki/aizawa fight she was thinking about her every move, regardless if it was her losing confidence or executing the final plan. she had to ask herself and todoroki if what she’s doing is okay).

now, and this is the interesting one: kirishima. the other two’s expressions can be explained in a way that ties them to the act: momo looks shocked because she has no idea why iida would act up when midoriya has nothing to do with the decision (and because she’s subconsciously taking the blame for herself), todoroki looks alarmed– because why would iida take out his anger on midoriya? (but is waiting for the rest, because he knows him too well), but kirishima has no idea who iida is beneath the initial impression of a strict class president, and would have no clue as to what’s iida’s reason for punching someone (and especially when that someone is his best friend).

kirishima, bless his soul, looks disgusted. he looks confused but his brows are pinched in a way that tells us that he’s not okay with this. and why would he be? he wouldn’t, because kirishima is all around a boy that has a strong sense of justice. kirishima is definitely blaming himself for having to rescue bakugou in the first place, and is going against the rules because he feels guilty and thinks he can do something. he wouldn’t endanger his classmates, ask momo for a favor and secrecy, go against the police and the pro’s orders and spend money on this ordeal if he didn’t think he has a shot at succeeding.

from his point of view, i can only imagine that he thinks iida is being dramatic and violent. kirishima wouldn’t suggest an idea like that without having confidence that they can fix this (he had all of that confidence even when it was just him and todoroki), and he knows that (as a person that was there when it happened) it bugs midoriya the most. so he asks midoriya from the good of his heart  if he wants to come along. kirishima doesn’t know iida that well at all (well momo doesn’t either but kiri is mentally stronger than her, so he thinks about the wrong in the situation instead of overthinking what he did wrong) and it makes all of the sense in the world for him to be mad. iida is supposed to be a role model, and that’s why it’s so alarming to see him randomly punching his best friend, but kirishima is the only one that shows clear disapproval for his actions. idk i just think it’s neat.

ok, getting to the point now: iida.

iida is a very underrated character, and his development is especially underrated and looked down upon, but this scene is where he grabbed our attention again ever since he lost it after the stain arc. you see, if you don’t stan iida, i doubt you pay attention to him. people appreciate his extremely well-written character only when the focus shifts to him, which is not often at all.

now that i’m done being salty, think about the betrayal you’d feel if your best friend went under your nose to do something you specifically asked them not to go do. think about how hurt you’d feel when your friend ignores people who cares about him completely to do something reckless that might get him killed. midoriya didn’t take iida’s emotions into consideration at all.

in the stain arc, iida feels bad for midoriya and todoroki’s involvement. they got hurt for him, and almost died for him. not only that, but he caused major trouble to the pro hero he was working with at the time by doing something on his own accord. he knows better than anyone how acting on your feelings can affect everyone else. you’d think that midoriya learned that as well, right? but here he goes again, going under the pro’s noses to do something extremely dangerous. not only that, but thanks to yaomomo the police had a lead and the pro heroes had the situation under control for once lmao. the students shouldn’t have gotten involved because the police already planned out how to approach the situation–it wasn’t being ignored and they had a plan. kirishima and todoroki’s decision to save bakugou was selfish, and it was selfish of them to ask midoriya to join especially because he’s injured (even though midoriya did want to help), and it was selfish of them to ask for yaomomo’s help (and also keep that information from the pros. just to recap: they asked her to give them the location of the villains so they can do something dangerous and reckless when the police had a way to solve the situation, they asked her to not tell anyone and then they asked her to stay put. that’s the worst position a person could be in; knowing they’re out there, getting hurt, while not being able to say or do anything about it–that’s so difficult. todo and kiri are my faves but they were asking for so much, and it was so unfair to momo. no wonder that she joined them). it was selfish of them to do all of that, and tsuyu (+plus uraraka) made that very clear when she confronted them about it later on. 

but to iida, the most selfish thing that happened was midoriya actually going with them. he was going to get himself and other people in trouble. he was going to risk his life doing something pointless. iida knows how much that hurts people. he experienced it first-hand.

iida knows midoriya is frustrated, and he knows how it feels better than anyone else. the difference between the stain arc and the hideout raid arc is that the outside forces could do something about it, which is exactly why he has the right to get mad. he knows frustration; it drove him to do something reckless and selfish too. he risked his classmates’ life too, he ran off on his own too. he felt like he was cornered, he had no one to turn to, he was angry and endangered someone else selfishly, and he acted in the most non-heroic way an aspiring hero could act as. after all of that wrong he did, he realized his mistakes after seeing the damage his actions bared with them, and dealt with the consequences the best he could– by changing his attitude and learning from his mistakes.

iida moved on. midoriya was present for all of that; which is why iida is frustrated with him. midoriya acted selfishly too, and caused trouble for others too, and iida thought they learned that lesson together. midoriya said it himself: we were both wrong. let’s make up for it together.

… yet. even though he said all of that, he still repeats the same mistake iida did. the way midoriya planned to go with kirishima and todoroki despite what iida told him is a stab in the back. midoriya didn’t consider iida’s emotions at all. ever since the stain incident passed, iida made sure the class got their act together. he made safer choices and took other people into consideration, and he continued being the best class president a class could ask for. he was trying to make up for his mistakes. he grew and fixed his wrong doings, and midoriya was supposed to do the same. here he clearly goes against what he said to iida in the panels above. what he said back then changed so much for iida, but it seems like he’s throwing all of that away to go after bakugou in the hideout raid arc. that’s so unfair. that hurts. midoriya went back on his own word (the same words that changed so so much) to do something irresponsible again. in the first panel i showed you, iida says that he worries over everyone, not just bakugou. bakugou didn’t do anything outstanding/likable/rescue worthy, and yet iida worries about him. of course he would. iida cares for everyone in class a1, but he didn’t plan to do something reckless (and technically, illegal) for one of them, because it’s not his place. but midoriya did. iida still worried and cared and wanted to do something but didn’t. by totally ignoring iida’s request to step down (and the warning from the other classmates) he disrespected iida’s emotions and incredible self-restraint. iida and the rest of a1 made it clear that it was a bad and selfish idea, but the group still planned to go. that’s so cruel to the rest of the students who worried but restrained themselves. that’s so cruel to iida. midoriya’s supposed to be iida’s best friend but he can’t even understand that.

midoriya, as the person who encouraged iida’s new path when he lost his way, did something very wrong and heartless. midoriya was so selfish in this arc, it’s honestly amazing. the hideout raid arc is so well-written, and it gives midoriya such a flaw that made me like him so much more as a protagonist. it shows us that despite all of the things he went through, he has so much place to develop. iida is being completely fair in this scene, and midoriya kinda deserves the punch he got. i don’t think he realized how much he hurt iida by sneaking out of the hospital that night.

regardless of  that, iida still joined the group so he can keep an eye on them.

that only shows how much he developed. this conflict is truly one of the best in the entire manga.

What Is The Shape Of Your Monster? – Get Out and Thought-out Horror

Get out.

No, I’m dead serious. If you haven’t already seen Jordan Peele’s Get Out yet, I need you to do me a massive favor. I need you to bookmark this page, close this page, and absolutely do not read this page— or any other essay or article on Get Out— until you’ve finished watching it.

I’m not just saying this because this essay will contain major spoilers for a movie that is best enjoyed going in knowing as little as possible— I mean, yes, it will— but most of all I just want as many people to see this movie as possible. It is by far the most socially relevant American movie to come out this year, at time of writing, if not one of the most socially relevant pieces of American art of the past decade.

It’s also just a very good movie.

(SPOILERS START NOW)

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Writing an immersive third person limited point of view.

What is third person? In third person pov the narrator refers to all character by third-person pronouns, such as he, she, or they. In contrast, first person pov uses the first person pronouns, I and me, for the narrator.

What is third person limited? Third person limited is the alternate to third person omniscient. In third person limited, you have one single pov character narrating the story at any given moment (though you can have as many of these limited pov characters as you want throughout the course of the story), whereas in third person omniscient, there is an omniscient (all knowing) narrator.

Why choose a limited third person pov? 

- The reader forms a stronger, more personal connection to your pov character(s).
- You can easily build suspense because the reader never knows for certain what the non-pov characters are thinking, feeling, or planning.
- You can more easily write an unreliable narrator because your narrator tells things only as they see them, and not as they truly are.

At the end of the day, there is nothing you can’t do with limited if you’re creative and willing to think outside the box. 

So you want to write a good limited third person pov then?

Keep in mind that most of these tips also translate to first person pov. In many ways, third person limited is very similar to first person, because you have a single narrator at any given time, and the reader is confined to that narrator’s interpretation of the world.

Here are some key things you need to remember while writing limited third person: 

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Skinny Love | Jungkook | PT. 1

Originally posted by sugutie

Summary: You and Jungkook have been friends for a long time, probably so long that you can even consider one another best friends. You can spot each other in any crowd just by the bond you share, and you communicate sometimes in your own language. But you weren’t content with being ‘just friends’. You wanted more, but what itched at you was the question of if he felt the same.

Potential Pairing: Jungkook x Reader (Female)

Genre: Fluff, Angst, Future Smut, Mature Content—cursing, drinking and obviously sex. College!AU

There will be four(?) parts to this. Enjoy part one and please don’t forget to vote and give me feedback. 

-Tee

Chapters: 01 | 02 | 03 | 04


S A T U R D A Y

You can recall the many times you had the opportunity to tell Jungkook how you felt. There was the time during the twelfth grade trip when you both were sitting next to one another on the bus ride home, he made a blanket for you with his sweater and told you to lean on his shoulder as he attempted to sing you to sleep. He looked like an angel that night, you were both close to the point where you could have whispered to him that you liked him and kissed him.

There was that time when you carried him home when he got wasted for the first time, which he never did again, and he was so out of it you could have confessed to him without actually confessing. He was so drunk that he wouldn’t even remember it the next day, it would save you the embarrassment but the sadness would still be hanging over you.

The memories of all the times he had asked you who you liked came back to you. You really could have pointed to him, looked him in the eye and said, “you. I like you Jungkook.” But life isn’t always like they say in the movies to make things speed up, things like this took time, even four years or so worth of it.

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Heart on the Line (part 4)

Masterlist

You and Bucky had your differences in college, but now you need a place to stay and he needs a roommate, and in order to make ends meet, you two start a phone sex line together.  

“For a Good Time, Call…” AU


author: sugardaddytonystark (formerly buckysbackpackbuckle)
pairing: Bucky Barnes x Reader
word count: 1433
warnings: phone sex

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Deadly Sins- Envy

Originally posted by tomhollanderr

Relationship: Peter Parker x Reader

Summary: Reader’s jealous ex who despises Peter Parker for dating the Reader follows them after school. A turn of events happens when Peter’s girlfriend life is on the line.

Warnings: Swearing cause I love swearing IRL.Angst?

Word Count: 2,000

*A/N: I’m transitioning from Wattpad so this is how I type my fics.. Hope you guy’s like my writing style. I know most people do [Y/N] but I normally don’t but in the future I’ll try it :,) Pls don’t roast me /.\ I also tried making it long, sorry if it’s too long 0.0 Like I said I’m used to writing longer stuff..

One of the worst sins to have is Pride. Yet the most dangerous ones come from our inner turmoils. Envy can lead towards many other feelings causing you to do something you’ll regret. Jealousy causes you to feel like your body is on fire and you have to act immediately to set out the fire. Sometimes we can never settle the fire inside of us..

The fire was raging in Quarterback Mason Larson. It’s been ablaze since he had just been broken up with for low life Peter Parker. His girlfriend of two months ended it with him to be with that nerd. She claimed that Mason was too jealous for her liking. He was going to find out why she liked this Parker kid so much…

[Reader’s POV]

“You look different…. dating Penis Parker definitely has changed you” Mason seethes gripping on your wrist. You had one of Peter’s science shirts on cause it was like you had a piece of him whenever he’s away.

“Let go of me Mason,move on with your life!” you shout in protest trying to get your hand back. You just wanted to wait for Peter after school like a normal girlfriend. Yet you get bothered by your Envy filled Ex-Boyfrined.

“You’re my girl so no I won’t let you go” His voice raising causing people’s heads to turn. Great this jackass was going to cause a scene..

“Hey baby, there you are!” Peter’s voice catches your attention. Your eyes flicking in his direction. His eyes glance at your hand twitching in Mason’s tight grasp.

“Sorry I’m late, had to finish up with the group over the topics for the next competition” Peter swiftly twists Mason’s wrist and kicking his feet from under him. You let out a yelp when Mason’s nails scratch you. Peter immediately  catches you before you fall backwards on the ground.

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Hiveswap  Review (Spoiler)

We’ve been waiting an awfully long time for the Homestuck Adventure Game. First kickstarted in 2012, it’s gone through a troubled development cycle between 3 studios and…. yeah, you get the drift. Even in its final form, Hiveswap has gone through numerous unexplained delays (most infamously the last minute January Launch Month delay), and the development team for it had been very tight-hush until the end of August when a final release date of September 14th was announced. 

Now that Hiveswap is out, we’re able to see for ourselves what the development team has been working on. Does it hold up to expectations? Does it make up for the hard delays and extremely concerning lack of communication? 

Those are answers you can only decide for yourselves. What I will say, however, is this: Hiveswap is a charming and visually stunning introduction to the Homestuck world, that combines only the best of Homestuck’s humor with a new calmer, more curious and coherent setting.

It’s a shame, then, that the content of Act 1 isn’t a little bit longer. However, the gimmick of combining any item with each other and getting a new description will draw out the length for any lore completionists.

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Strike three | M

Summary: No one can be cold like Kim Taehyung, but no one can warm you up like him.

Pairing: Taehyung X Reader obviously

Word count: 8k

Genre: Smut

Warnings: Dirty talk shitloads, light spanking, blindfolds? Handcuffs? Feather play? And Taehyung in like, general. Yeah.

A/N: So i wanted to start my first fic off with a bang (haha get it? Jin would be so proud), and this happened. Dedicated vv sincerely, with my whole heart to @taexyla

*

Rain patters down hard around you, beside you, and on your head. You curse the Rain God- whoever that damn bastard is (Dude! The basic concept of timing. Please!)- as you plummet your feet into the uneven pavement, gritting your teeth as you glance from your bright phone screen back to the number on the gate again. Nope. Not this one either.

Just what sin you’d committed in your past life to deserve this remains a mystery. Just what you-

Ah! There it is.

The stone ground is hard beneath your cobbled feet as you are faced with uncountable red bricks and a rich splendour of sophistication in the air, and nerves set right into your stomach as you keen upon the ghastly mansion that stands before you.  Your eyes circle around its magnificent sheen walls, zeroing in on a practically everything, thoughts widely biased on how appropriate it would be to hurl a mountain at the place right about now.

Bloody rich-

You shiver. The open streets are really no place for the chilly winter air, and you really are no person to subject yourself to these utterly unnecessary conditions, yet here you are, utterly ballistic at the opportunity to face the bundle of joy that is your boss.  Again. As if seeing your employer for the past eleven hours wasn’t enough. Karma is just in love with you today…

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Full Disclosure

destiel, PG-13, 3.7k

This fic was inspired by the following prompt I received from @imsounoplogetic:
So I recently came across this video. And me being the trash that I am, I immediately though of destiel. I was wondering if you could write something base off of this video where Dean is popular kid who Cas thinks is a jerk. Cas is a theatre boy and Cas comes by the rehearsal room and hears Dean singing and is completely shocked?

Thanks to @captainhaterade for their beta work!

AO3 link

Summary: Dean’s the popular kid, and Castiel’s the drama kid who holds a grudge against him due to an incident on his first day of school. They’ve stayed out of each other’s way ever since, until one night Castiel stumbles upon something completely unexpected in the drama room… 


“Cas? Did you actually hear a word I just said or are you too busy checking out Winchester’s ass?”

Ash’s typical laid-back drawl cut through Castiel thoughts, and he turned to the long-haired boy with a scowl.

“I was not looking at Dean’s ass,” he said, though it sounded more petulant than aggressive.

“Sure you weren’t.” Ash’s raised eyebrows were a pretty good clue that he didn’t believe Castiel at all. “So what did I say, then?” he challenged.

“You were talking about…” Castiel frantically cast his mind back to the last two minutes. Okay, so he had perhaps been looking at Dean. But certainly not at his ass. Not that there was much to look at (or so Castiel had convinced himself). His face, now there was a work of art. Especially those freckles that dusted his nose and cheeks and –

Castiel forcefully cut off that train of thought. Freckles or no freckles, Dean Winchester was a jerk. One of the popular, “cool” kids who looked down on Castiel and his nerdy, geeky friends. He was good at sports, got above average grades (to Castiel’s annoyance) and had a line around the block of boys and girls wanting to date him. Naturally, he only dated the prettiest people, and his circle of friends were similarly aesthetically blessed.

Of course, those things alone would not merit the descriptor “jerk”. Dean’s attitude towards Castiel, however, did. Castiel had transferred to Lawrence High at the start of his senior year, and he’d met Dean on his second day of school, in front of the classroom where Mr. Thompson’s English class was about to start. Dean had been chatting to one of his friends (Castiel would later find out that her name was Bella) and was blocking the doorway.

“Excuse me,” Castiel had said politely, meeting Dean’s ridiculously green eyes. Dean had given him a once-over, making Castiel feel like he was on display in a zoo, before grabbing Bella by the arm and pulling her towards him so Castiel could pass by.

“Sorry, dude,” Dean had said, frowning and looking troubled. Castiel had stepped into the classroom without another word, but he could hear Bella giggling and whispering something to Dean, to which Dean had responded with a derisive snort and a “he’s all yours – not interested.”

Castiel had felt humiliated, and ever since he’d avoided Dean like the plague, scowling at him whenever their eyes met, which usually had the effect of Dean looking down with a tight, unhappy expression. Dean was a shallow jerk, plain and simple, and Castiel wanted nothing to do with him.

The only good thing about him was that he was a member of the school’s LGBT+ Alliance, which was headed by Charlie Bradbury who was also their only mutual friend. But Castiel had always taken care to stay away from Dean during those meetings, and had sometimes avoided them altogether if he knew Dean would be coming. It exasperated Charlie to no end, as she was convinced they’d be great friends if they would only talk to each other and give it a chance.

But she was wrong – they were too different. Getting closer to Dean would only lead to disappointment. It wasn’t worth trying.

“About what, Cas?”

Oh, right, his conversation with Ash. Damn, Castiel really needed to sleep more – he was having a hell of time concentrating lately.

“About who we could cast to replace Bradley as Mal,” Castiel said confidently. He hadn’t been that zoned out, thankfully, and remembered just enough to answer Ash’s question about The Addams Family musical performance the drama club was holding at the end of the year.

Ash regarded him suspiciously for a moment, but then shrugged and let it go. “Yep, so me and Jo were thinkin’ maybe Garth could do it?”

Castiel considered it. “Maybe. But I’m not sure his singing voice is strong enough to carry Mal’s solo songs. Besides, didn’t he say he’d rather work behind the scenes? Last I heard he was helping with lighting and sound. Don’t we have any other candidates?”

“Not really – everyone else either already has a part or is helping out backstage. Yeah, Garth was assisting Kelly but she can probably do it on her own. I don’t see how we got much of a choice. We ain’t got much time left.”

True enough, they couldn’t afford to wait much longer to decide on a replacement for Mal’s part. Why did Bradley’s family have to take him skiing, anyway? Such a dangerous, expensive and completely pointless sport.

Castiel wondered if Dean skied.

Standing up with his now empty lunch tray, Castiel nodded at Ash. “I see your point. I’ll go mention it to Jody and Donna, then. See what they think.”

Ash waved his hand in a lazy salute. “Thanks man, ‘ppreciate it. Oh, and Cas?”

Castiel turned back around.

“You really should give Dean another chance. I know you guys got off on the wrong foot, and I don’t blame you for that, but he really ain’t all that bad once you get to know him.”

“And since when do you hang out with Dean Winchester?” Castiel asked, feeling betrayed. He’d had no idea Ash was even on speaking terms with Dean.

“Since he gave me a ride home in that beautiful car of his ‘bout a month ago when I was stranded here after my sis bailed on me. We got to talking after.” Ash waggled his eyebrows at Castiel. “He really isn’t just a pretty face, y’know. And don’t pretend you don’t think he’s pretty. You’re a terrible liar.”

“So what? The guy’s an arrogant jerk - his looks mean nothing to me. He basically gave me the Darcy treatment on my second day of school, Ash. Before he even knew me! As if I was even interested in him!”

“Yeah and we all know how that story ends, don’t we?” Ash was grinning now. “Look, I ain’t gonna deny that was a dick move, but from what I’ve learned about the guy, he tends to put his foot in it when he’s flustered.” He looked at Castiel pointedly. “Maybe something about you just throws him off his game?”

Castiel had had about enough of this conversation. The memory of their first meeting always left him feeling hollow and in a foul mood, and he needed to keep his spirits up to survive ethics class with Mr. Adler later this afternoon.

“Whatever it is, I’m not interested in finding out. I doubt I’m missing out on much. I’ll see you at rehearsal, Ash.” He walked away before Ash could say anything else.

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