𓆏 Sam and Frodo and Frog and Toad crossover!! All my best boys in one. Inspired by some particularly froggy and toady frodo and sam doodles in my sketchbook 𓆏

O sonho de Rodion | Rodion's dream

Version where I kick Rodya out of his own dream so you can look better at the horsy ↓

So when Darcy went to fix the Lydia/Wickham situation, he first tried to get Lydia to return home, only bribing Wickham into marrying her when she wouldn't. This is sensible by modern standards, but we know from everyone else's reactions Lydia *failing* marrying Wickham would bring the Bennet family shame. Darcy knows this, and doubt he planned to leave the situation as is. So how did he originally plan to fix it?

I think Mr. Fitzwilliam Darcy was gonna channel his inner Emma Woodhouse (didn't have to dig far, they're very similar people) and play matchmaker. In my headcannon Darcy checked his "Possible Husbands for Georgie" list against his "People who owe me Gargantuan favours" list and offer whoever came up money to marry Lydia.

Now, he would want to spare the Bennets of as much of the scandal as possible, and wouldn't want to take the merit in front of Lizzie, so all would most likely happen discreetly through Mr. Gardiner, while Lydia was in London, and she would move to her husbands immediatly after.

However, I wanna propose a different scenario: Lydia returns to Meryton. Scandal ensues, the Bennets are disgraced. Then, within two weeks, a random well-off man shows up intent on courting Lydia and *only* Lydia. He heeds nobodys warnings and gives no explanations. Lydia loves it. Every other mum in Meryton is furious. The Bennets are confused and paranoid. Imagine the drama. The intrige. The million questions still unawnsered long after Lydia eventually gets married and leaves. Bingley marries Jane (cause of course Darcy still told him he'd been wrong to pull them apart, and Bingley would) and Darcy's still somewhat around. Maybe him and Lizzie get together, maybe not, but every time the topic comes up he gets all sheepish and awkward and she gets suspicious and it's a thing. It's their new dynamic.

haha wouldn’t it be funny if i said that i got back into an obsession i had for a rythm game in 2021… it would be hilarious riiight… haha…

I’m a good girl, but you've got bedroom eyes, hey.

Jack Kerouac, Maggie Cassidy (1959)

About Fanfiction

You know when you come across a fanfiction that is just so wonderful in every way, and once it's over you genuinely don't know what to do. There's just this static going on your brain and it's just like- I - I don't - like a genuine loss of words. Because you have read something so beautiful and unique, and thoughtful, something that has actually changed parts of you and the way you view things.

This is why its ridiculous how much shit fanfiction gets, because this feeling, is so incredibly rare, and let me tell you, not once have I read a published book that has had this effect on me.

Sure, there is bad fanfiction, but guess what. There are also bad books. And just like there are amazing books, there are amazing fanfictions. And I got to read one of those for free.

The skill, not only in the writing but the way the characters are told, the story, the emotions, everything. The time and research that writer has put on this work, and I got to read it for free.

Through fanfiction we get to read and tell stories that the mainstream media is too bigoted to publish.

It is really fucking stupid to shit on fanfiction because "some of it is bad". Some of us don't get represented in the media as much, some of us at all, and some of us only in negative light.

So yeah, say thanks to fanfiction writers, leave kudos, leave comments. Fanfiction can be really fucking amazing.

Hank with an Eldritch Horror Reader

Here's another thing I wrote two years back! It was an interesting concept which I really liked, so I actually really enjoyed writing this request!

Hank J Wimbleton was a grunt of many things, but not one to be scared unless he had a good reason to be. There were many things in this world he did not understand, you were one of them. Upon meeting you, his first instinct would have been to either fight or run away - who could blame him, it was all he knew. No matter how many times you reassured him that the very last thing you wanted to do was to harm him, he’d draw his weapon, uncertain of whether or not he should believe your words.

Once you show no resistance towards him whatsoever and simply restrain him using your powers or other methods, that’s when, thrashing around as much as he could, he would start listening. You may or may not have seen a grunt up close, but this was your chance to finally examine one. As you scrutinise him from every possible angle Hank realises that you were simply curious about his being and finally lowers weapon.

Your voice would likely hurt his head and freeze the blood in his veins, so you might have to resort to telepathy or speak through a marionette, if you can find one. Though, once Hank’s interest in you has been piqued, he’d be more than happy to find you one. A lot of people in Nevada seem to be redundant in the first place. Regarding telepathy: You will be able to have a two-way conversation with Hank like that, but, for the most part, he doesn’t think in words. Still, he can do so, if needed.

If you’re on the rather small side, he will make an effort to pick you up, or hold you, and bring you back to base. Depending on whether you can float or not, this might be rather difficult, but he’ll try. If you’re large, however, then he will simply “tell” you to follow him. As an eldritch being you could likely either change your form or scare away anyone in your path in the first place, so he doesn’t particularly worry about anyone being stupid enough to attack you.

Spend time with him, he’ll get used to you more and more and, eventually, grow a bond with you. Proud, he’ll show you to Doc so he can figure out what you are, but do not be fooled. Hank wants to know what you are to some degree too. Once comfortable with you and certain you won’t harm him, he’ll start observing you, touching you to some degree. See how you react, how you feel, how you are.

Despite your conversations being, for the most part, one-sided, Hank will ask you directly what you are and if you’re some form of eldritch deity. Since you’re an amicable creature he can’t exactly wrap his head around, it’s worth a try.

Although he would like to do so to some degree, he won’t take you with him on missions. It’s his way of saying “I care a great deal about you, I don’t want you to die or worse even if you are capable of defending yourself.” If you really insist on aiding him, he will let you, begrudgingly. But beware that he will have your back. In fact, having you around will give him a greater reason to fight and improve his overall performance. Though, it will also be a major stress factor to him if something were to happen to you, so choose wisely.

Hi! I am an ardent fan of your writing, and I hope to be as sorted and planned as you some day in my own writing journey.

My question is: you have a keen eye when it comes to planning character personality, dynamics, and such. I've also been wading through your ask replies, and your insights into how you write people and how you make them play off of each other is so wonderful to read. If it's not too personal a q, how did you learn how to write like this? Did you go to school for writing, does it come from years of observing people, do you have reading list recs for "how to write real people and real interactions"?

Thanks! This is a really flattering question. I'll try to answer it honestly, because I wish someone had been brutally honest about this with me when I was a young writer.

I didn't go to school for writing. I started doing it when I was about nine years old. It sucked very badly. I kept writing throughout high school, and it still mostly sucked, but some of it was occasionally interesting. ("Interesting" here does not mean "good," by the way.) I took a break in college, and then came back. I've been writing ever since. Sometimes, I feel good about it. A lot of the time, I don't!

I hate giving this advice, because I remember how it feels to get it, and it's the most uninspiring, boring-ass, dog shit advice you can get, but it's also the only advice that is 100% unequivocally true: you have to write, and specifically, you have to write things that suck.

I do not mean that you should make things that suck on purpose. I mean that you have to sit down and try your absolute hardest to make something good. You have to put in the hours, the elbow grease, the blood, sweat, and tears, and then you have to read it over and accept that it just totally sucks. There is no way around this, and you should be wary of people who tell you there is. There is no trick, no rule, no book you can buy or article you can read, that will make your writing not suck. The best someone else can do is tell you what good writing looks like, and chances are, you knew that anyway — after all, you love to read. You wouldn't be trying to do this if you didn't. And anyone who says they can teach you to write so good it doesn't suck at first is either lying to you, or they have forgotten how they learned to write in the first place.

So the trick is to sit there in the miserable doldrums of Suck, write a ton, and learn to like it. Because this is the phase of your path as an artist when you find what it is you love about writing, and it cannot be the chance to make "good writing." This will be the thing that bears you through and compels you to keep going when your writing is shit, i.e., the very thing that makes you a writer in the first place. So find that, and you've got a good start.

Some people know this, but assume that perseverance as a writer is about trying to get to the point where you don't suck anymore. This is not true, and it is an actively dangerous lie to tell young writers. You are not aiming to feel like your writing doesn't suck. You are aiming to write. You are aiming to have written. Everything else is dust and rust. And of course, you'll find things you like about your pieces, you'll find things you're proud of, you'll learn to love the things you've made. But that little itch of self-criticism, in the back of your brain — the one that cringes when you read a clunky line, or thinks of a better character beat right after it's far too late to change — that's never going away. That's the Writer part of you. Read Kafka, read Dickens, read Tolstoy, you will find diary entries where they lament how absolutely fucking atrocious their writing was, and how angry they are that they can't do better. A good writer hates their sentences because they can always imagine better ones. And the ability to imagine a better sentence is what's going to make you pick up the pen again tomorrow. And the day after that. And the day after that.

Which is what I mean, and probably what all those other annoying, preachy advice-givers mean, when we say: a good writer is just someone who writes every day. It's that easy, and that hard.

Just Monika.

I had ✨A Thought✨ (about forgiveness)

I can't be the first one to connect these clips like this, but here goes...

Crowley doesn't like that he's a demon. He makes the best of it; our boy (gender neutral) is nothing if not able to adapt. But he resents having to be Evil(tm) by definition, seems to only just accept his snake side (under sufferance), has taken a more human name, distances himself from Hell any chance he gets, etc. And we all remember how he reacted to "you're the bad guys".

At the bandstand, he calls himself unforgivable. Aziraphale has just said "may you be forgiven" and snek's like "lol no did you forget i'm your eViL hEreDiTarY eNeMy" (poking in his own wounds again like he does it for a living); he puts himself down with references to his demonic nature as a sort of challenge to the angel and he's expecting to be rejected for what he is because he hates that part of himself. (And Aziraphale certainly has a habit of bringing that shit up, too; it's a self-defence mechanism, for sure, and Crowley isn't stupid, but I bet it still stings.)

But we know Aziraphale doesn't actually think Crowley is bad. (Right? Nobody believes he thinks that. RIGHT?? Please tell me no-one actually believes he thinks that)

He knew already by Job that Crowley is more "properly good" than most angels. He also knows Crowley has nothing but disdain for Heaven (if he hadn't picked that up by now he'd be very stupid, and it's underlined so many times in the show and the book that Aziraphale is not stupid). So what if when he says,

he's actually saying "you're not unforgivable, it doesn't matter what you are, you're better than all of them"?

He knows by this point that he has to leave, and Metatrash is most likely watching through the window so Aziraphale knows he can't say much or they'll be in trouble. Maybe this is all he could think of to communicate that Crowley is the best being he knows in all of Creation and that had he any choice, he'd pick him every time?

i’m sure this has been said before and much more concisely but the whole parasocial relationship that audiences have with creators has only perversely grown in the sphere of literature. i see the most examples on places like tiktok and yours truly, tumblr, but it’s cropping up everywhere now. comments like “x author TOTALLY didn’t understand y character—they should have totally did this instead”. there’s a huge difference between an author mixing up/not fully fleshing out plots but to have this strange sort of hubris to suppose you know an author’s character better than said author is just inane interesting. this also extends to the very not new but never endingly exhausting theme of “why would author EVER write this like ugh i almost stopped reading here” okay bethany why didn’t u. it’s not every single authors job to cater to ur interests. not everything u read is supposed to be making a morally sound point, certainly not supposed to meet your personal version of one. literature is art, is subjective, is open and unrestrained. it’s not “oh my god this character is soooo toxic why is the author gaslighting us and omg there isn’t enough sPiCe” like grow up and learn critical thinking god

AITA If My Favorite Character is a Fascist?

Uh oh. The Fascsplainers are at it again. Yes, we know what fascism is, thx.

"Kim/Clare" by Jean Weisinger

source: The Wild Good: Lesbian Photographs & Writings On Love, edited by Beatrix Gates

If you can't be Marilyn Monroe, there might be something else you can do.

Eve Babitz, L.A. Woman

Tbh... I don't think TOH should get a pass for it's shoddy plot just because some of the stuff that happens within the plot invokes an emotional response in people.

First of all, people react to concepts with varying degrees of emotional intensity based on what they like and/or their life experiences. Secondly, you can still create resonate moments with a good plot lmao.

There is no reason TOH should get a pass for making Belos a non threat for most of Season 1 just because people think x, y, z moment is wholesome or whatever.