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TREAT YO SELF, 2015!
(First aired October 13, 2011)
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Hufflepuff aesthetic: sitting after a long day; pulling your blanket back on when it falls off in the night; broken cinnamon sticks; jumpers that are too big; putting on warm socks; your pet resting their head on your lap; butterfly kisses; extra creamy hot chocolate; humming in the morning;
Gryffindor aesthetic: being breathless after running; spinning fast on office chairs; untying your hair; having dirty feet; finishing big breakfast; holding hands; fire crackling; having red lips from berries; burning the tips of your fingers on hot drinks; brushing your hands through fur;
Slytherin aesthetic: making perfect paper creases; sucking on ice; rooms with high ceilings; looking up at the stars; getting up for a drink of water at night; brushing your hair behind your ears; heels clicking on polished floors; dancing home alone; driving fast; jumping high on trampolines; charcoal on fingers; blasting music on headphones; being light-headed after a sleep in;
Ravenclaw aesthetic: covering your eyes with your hair; cold wind on your face; brushed teeth; finishing a long book series; wearing extravagant clothes at home for no reason; sipping lemonade through straws; multi-tasking; hot showers; staying up late; quiet music; the taste of mint; perfectly sharpened pencils;
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Tweet him with positivity!! This man is a true hope for us.
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shoot-trash
STOP
that made me cry. I hate you
hufflepuffandpass reblogged
#soproud
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How many ways can the world fuck up in 2016?
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made some gifs to describe the Pokemon Go fandom right now
also
Long Live Instincts
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I think you should write a fic from Gen's perspective as she continues her mission to become an international spy by interning with Root much to Shaws horror. Shaw turned her down 1st so its her own fault and now she has to keep an eye on them both
RED TAPE
There is no Genrika Zhirova.
Not after your high school graduation anyway. That identity is easy enough to shed. Root says you never forget your first, but you’ve prepared for this since you left the impact zone at age ten.
Erasing your existence feels a lot like erasing old tapes only with more… red tape. It helps that you’re the ward of a presumed dead billionaire and your aunts funnel your trust fund into various offshore accounts for you.
You call Shaw and Root your aunts since calling them your moms weirds them out and your real mom might be out there. Sure, she’s probably still rotting in prison halfway around the world, but she could be alive.
That’s the biggest hope you hold on to.
Vadim didn’t last long without you. Overdose. Shaw says it served him right after he sold you out. One time she told you about how she put his face through a glass table. During a lesson in interrogation techniques, of course.
She’s not happy about your decision to fall off the map. Like she hasn’t burned through dozes of different identities over the years. She teaches you covert ops and makes you run makeshift obstacle courses anyway.
Your counter surveillance tactics are a little rusty. There wasn’t much need for them at prep school. Instead you studied everything from languages to world history to etiquette.
You studied your classmates as well. Adopted their mannerisms and mimicked their body language.
You were the quiet multilingual girl. Forgettable on purpose.
Shaw quizzes you in rapid fire German and Spanish while you try to slip out of handcuffs behind your back. For someone who is so against you being a spy, she sure crams a lot of info into your skull. She says she won’t be the reason you get killed on your first solo mission.
She knows you’ll go on one sooner rather than later, despite the fact that she forbade it.
Root loves your career aspirations so she’s happy to help. She teaches you about tasers and torture and torture with tasers. She knows the finer points when it comes to that stuff.
On your eighteenth birthday you get a set of coordinates. A cab takes you to Chinatown and you’re only slightly skeptical when the coordinates lead you to a dead end.
Maybe the junky old vending machine holds a clue.
For what seems like a randomly placed clunker, it sure is well stocked. Neat rows of snacks that form a little pattern – That’s it! There’s a pattern. You press a few buttons on the machine and to your delight the glass window swings open.
At first you think all this junk food is your prize, but the row of snacks also shifts aside to reveal a hidden passageway.
You try to contain your excitement. Spies are supposed to remain level headed, but there’s no telling what lurks down the hallway.
Root and Shaw like to keep you on your toes.
Like the time they both pretended to get abducted. You only had Bear, a Swiss Army knife, and thirty bucks at your disposal. By the time you barged in, they’d already broken out of their restraints and were making out on top of a table.
At least they weren’t having sex.
You overhear your aunts doing it all the time. Like at home when they kick you out and you have to find a way to reset the electromagnetic locks. Or in public where you’re pretty sure they go to the bathroom together just to hook up.
And now in the secret subway headquarters you stumbled into.
Once they get dressed, Root and Shaw congratulate you on finding the base. Maybe they are the weirdest mentors ever, but there’s no one else you’d rather celebrate the start of your new life with.
There is no Genrika Zhirova… because you’re finally about to enter the world of international espionage.
Anonymous asked:
Hey, sorry to bother you, do you have your womanlady blog set to private or like restricted or something? The weirdest thing keeps happening whenever I try to go to it and/or read your most recent fic, I can't, it just brings me back to my dash. I follow you on both blogs so I don't think I'm blocked or anything. It's just weird.
I honestly have no idea! I don't think it's set to private or restricted. There's a read more...maybe that's what's mucking it all up
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Ridiculous Wedding Fluff (Part 1: Gen)
Nothing could ruin Root and Shaw’s wedding. Not even Samaritan. Not even the fact that Shaw was about to murder the flower girl.
hufflepuffandpass reblogged
When I was little I thought “prima donna” was “pre-Madonna” as in an era before Madonna
hufflepuffandpass reblogged
you know when you read a piece of writing so effortless, so graceful and unpretentious that you are both a) thrilled to the point that you have to put it down and walk in a quick circle to make it last longer but also b) PHYSICALLY INCAPACITATED with snarling jealousy and rage
Wtf did you just hufflepuffandpass me
You're damn right i did and even though i can't check this one as often anymore i still love my adoring fans
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fictionwritingtips
How to Successfully Shock Your Readers
There’s a difference between shocking your readers effectively and killing off characters because you have no idea what to do next. In short, you want to shock your readers in a good way.
Keeping your readers on the edge of their seats does not mean you have to be constantly throwing things at them all the time. Here are a few ways to successfully shock your readers:
Make Sure There are Ups and Downs
If you want to build to a shocking moment, it’s important that you don’t try to fill your novel with them. Every story should have ups and downs, highs and lows. If you want to kill off a character and have the audience care, you need to build up to it.
Learn About Tension
Tension is so important if you want to successfully shock your readers. This is what I think the Hunger Games series did so well. Every chapter ends with a cliffhanger that basically forces you to keep reading. The reader is constantly given a little bit of “shock”, but every moment fits the story. We’re always on the edge of our seat. Understand tension by reading and figuring out your favorite tense scenes. You’ll quickly understand what makes them work.
Set the Tone
You need to set the tone within the first chapter of your novel. Shocking moments will just anger and frustrate your readers if they think they’re reading a light-hearted novel. The Game of Thrones shocks work (for the most part) because we know from the start what kind of novel we’re reading. We know that people can die at any moment. We get attached to the characters, so we really feel the impact.
Avoid the Easy-Out
Shocking moments don’t have an impact if you immediately take them back. Don’t have easy-outs built into your story. If a character needs to get out of tough situation, for example, don’t suddenly make the villain explode out of nowhere. Avoid deus ex machinas! Commit to your ideas and avoid breaking the tension by taking them back.
Understand the Critical Choice
Many novels build up to the critical choice. Your protagonist has to make a decision and they have to commit to it. They are usually torn between two different choices, both with pros and cons. Shocking moments are often made out of the aftermath of the critical choice. Think about how this will shape your novel and lead to future problems.
-Kris Noel
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kaylapocalypse-deactivated20201
Actually
The question I get the most is how I write characters that feel like real people.
Generally when I’m designing a human being, I deconstruct them into 7 major categories:
1. Primary Drive 2. Fear: Major and Secondary 3. Physical Desires 4. Style of self expression 5. How they express affection 6. What controls them (what they are weak for) 7. What part of them will change.
1. Primary Drive: This is generally related to the plot. What are their plot related goals? How are they pulling the plot forward? how do they make decisions? What do they think they’re doing and how do they justify doing it. 2. Fear: First, what is their deep fear? Abandonment? being consumed by power? etc. Second: tiny fears. Spiders. someone licking their neck. Small things that bother them. At least 4. 3. Physical desires. How they feel about touch. What is their perceived sexual/romantic orientation. Do their physical desires match up with their psychological desires.
4. Style of self expression: How they talk. Are they shy? Do they like to joke around and if so, how? Are they anxious or confident internally and how do they express that externally. What do words mean to them? More or less than actions? Does their socioeconomic background affect the way they present themselves socially? 5. How they express affection: Do they express affection through actions or words. Is expressing affection easy for them or not. How quickly do they open up to someone they like. Does their affection match up with their physical desires. how does the way they show their friends that they love them differ from how they show a potential love interest that they love them. is affection something they struggle with?
6. What controls them (what they are weak for): what are they almost entirely helpless against. What is something that influences them regardless of their own moral code. What– if driven to the end of the wire— would they reject sacrificing. What/who would they cut off their own finger for. What would they kill for, if pushed. What makes them want to curl up and never go outside again from pain. What makes them sink to their knees from weakness or relief. What would make them weep tears of joy regardless where they were and who they were in front of.
7. WHAT PART OF THEM WILL CHANGE: people develop over time. At least two of the above six categories will be altered by the storyline–either to an extreme or whittled down to nothing. When a person experiences trauma, their primary fear may change, or how they express affection may change, etc. By the time your book is over, they should have developed. And its important to decide which parts of them will be the ones that slowly get altered so you can work on monitoring it as you write. making it congruent with the plot instead of just a reaction to the plot.
That’s it.
But most of all, you have to treat this like you’re developing a human being. Not a “character” a living breathing person. When you talk, you use their voice. If you want them to say something and it doesn’t seem like (based on the seven characteristics above) that they would say it, what would they say instead?
If they must do something that’s forced by the plot, that they wouldn’t do based on their seven options, they can still do the thing, but how would they feel internally about doing it?
How do their seven characteristics meet/ meld with someone else’s seven and how will they change each other?
Once you can come up with all the answers to all of these questions, you begin to know your character like you’d know one of your friends. When you can place them in any AU and know how they would react.
They start to breathe.
I've got to know - are you watching POI on CTV tonight or CBS tomorrow? I don't want to spoil anything!!!
I have been sufficiently spoiled --- because I wanted to be! I needed to brace myself lmaoI'll be liveblogging under my new url
hufflepuffandpass reblogged
formerly hufflepuffandpass now womanlady
<i>thanks tumblr</i>
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