Rise Up, Oh Heart, For There is Another Battle to Win

Anonymous asked: It's little moments like the elevator scene that I remember these guys are teenagers :) and that they will have to live with the trauma of basically being the front line soldiers in an intergalactic war at the age of 13. I'm really liking these books,

I honestly love the weird little moments of party banter where the kids all stand around and talk about whether they’ve seen any good movies lately or anything, because you’re SO RIGHT, they’re babies and it’s so clear in those moments.  These poor tiny teens, someone get them a therapist.  And then get that therapist a therapist.  Honestly this is just a spiraling fractal line of therapists hearing terrible trauma.

Wait

….

They won! Holy smokes THEY ACTUALLY WON A BATTLE! THERE WAS A LITTLE DISMEMBERMENT BUT THEY WON!!!

I’M SO PROUD OF MY KIDS.  I’M SO PROUD OF THEM.  THEY WON.  MY KIDS.  AND THEY ONLY GOT A LITTLE BIT DISMEMBERED.  HERE IS MORE YELLING ABOUT MY KIDS IN THIS BOOK.

littledipperpines:

there’s nothing wrong with overly self-indulgent shit like honestly

make that fuckin beauty and the beast au with your otp

draw your favorite character broken and bloody for no reason

make a self-insert that’s super important and powerful

write porn of that obscure ship centered entirely around your personal kinks

headcanon your faves as your sexuality, gender, etc

have fun man

i mean in the past i’ve made fun of all these things but i’ve grown up and chilled out and honestly? fiction is your platform to go nuts. have a great time. do what you want to

just respect other people’s boundaries and don’t go forcing your headcanons down other people’s throats, because they deserve to have a good time too

enjoy fiction however you want to and don’t let other people tell you how it’s supposed to be enjoyed

(via littlestartopaz)

… Somehow, Still Talking About This Captain America Shit (Now With Bonus Spider-Man and Agents of SHIELD)

joshversus:

So now Secret Empire has revealed its Shyamalan Twist and given the readers a Good Guy Steve Rogers as well as Hydra Cap, and the kinds of dickbags who, when this whole bullshit began were dismissing people’s complaints with “oh come on, don’t you know how comics works, it’s all going to be put back at the end, blah blah blah…” are crowing I-Told-You-So’s.

But here’s the thing:

Yeah, fucknuts.  We always knew this.

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Anonymous asked: Psst John and Alexander meeting in your Hamilton Reincarnation fic series?

WOO, I am literal Laurens/Hamilton garbage, tell your friends.  
All In One Spot AU

John has been at Columbia for a year and, honestly, he’s starting to think that he was wrong, that no one else is here.  He walks past the law center every chance he gets, and he doubles the time of the walk from his dorm to the natural sciences building every single day to pass Hamilton Hall.  The statue is…reassuring, somehow, Alexander’s fine-drawn face cast in bronze and a quill in his clever fingers.  When John’s tired, or he’s had a bad night, full of nightmares with bayonets jumbled in with cars, the cinch of a noose tangled with the static of a television, he’ll stop and look at the statue until he can breathe again.

It’s not all bad.  John is in New York City, and he finally gets where Alexander was coming from all those years ago, this might legitimately be the greatest city in the world.  It sure beats South Carolina, hell and gone.  He’s introduced himself to everyone as John, here, and even admitted to a handful of people that he was a soldier in the Revolution.  He doesn’t have any close friends, but he doesn’t have any enemies, either, and the handful of familiar faces who see him when he quietly attends a Pride parade don’t say a word.  He’s taken a handful of prerequisites for a biochem degree, in the pre-med track—he always wanted to be a physician last time, and his father is too distant to fight him this time.  

He spends a little money on a sketchbook or two, on a set of pencils, and draws old faces, tries to imagine them in the modern world.  Lafayette, eyes bright and smiling, dressed in a suit.  General Washington, hands folded behind his back—no matter how many times John tries to give him a modern military uniform, his long heavy coat takes shape.  Aides and friends and soldiers whose faces he half-recalls, in t-shirts and jeans and flannels.  And Alexander, a thousand times Alexander, Alexander in modern clothes, in his Continental Army uniform, in shirtsleeves, in the coat he wears in the statue.  A few times, in the safety of his locked single room, John carefully sketches Alexander stretched out in their cabin at Valley Forge, lit in candle-flame and all smooth planes of muscle and skin, smiling at John, soft and sated.  An entire sketchbook fills itself with Alexander, over John’s first year at Columbia.

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slyrider:

fallingthroughfandoms:

Honestly this drive to make tv shows darker each season is so annoying if I wanted to feel sick to my stomach for hours I would watch the news not my favourite tv program

@words-writ-in-starlight

Oh my God I could snarl about this trend for HOURS, okay, like, listen, just LISTEN, if your TV show is 100% non-stop hardcore tragedy, and you just ante up at the end of every season, that loses its appeal, okay (SPN, I am looking AT YOU, you had potential, I have mentally rewritten everything past Season 3 to my satisfaction, I wrote AN ENTIRE GODDAMN NOVEL as a result of how angry I was, that’s how hardcore I am; SPN is gonna be my negative example here and I’m just not even sorry, that’s what fucking HAPPENS).  

Because the reason tragedy is TRAGIC is because it’s not the fucking status quo, okay, like, that’s how this works.  If every other episode is someone dying or abandoning their morals or fighting with someone they claim to love (GODDAMN MOTHERFUCKING WINCHESTERS, OKAY, IF YOUR WHOLE PLOT IS GOING TO BE ABOUT HOW YOU WOULD DIE FOR YOUR BROTHER, I EXPECT YOU TO ACT LIKE IT, JESUS GOD), then that’s not interesting anymore, and furthermore it’s not sustainable.  Sooner or later something gives out and here’s the thing, HERE IS THE THING, it’s always, always the character.  Not in, like, some emotional ‘poor fragile baby’ way, I mean in the hard and fast writing-a-believable-character way.  After a certain point, that shit falls flat.  If your character’s ONLY defining trait is how miserable they always are, and how much they want out of their life, and how tired they are of their life, that is a one-note character, that is a caricature, and you have officially lost my interest.  Your characters have to carry the show, okay, and that means that they have to be complete, dynamic people at all times, and THAT means that, even if it is Tragedy Train Central, they can’t just fucking mope about it okay.

AND AS LONG AS WE’RE ON THE SUBJECT, anteing up at the end of every season, raising the stakes…um, that’s an expiration-date sort of thing.  That’s not sustainable in the long-term.  That’s how you get into trouble.  Because sooner or later, you will have ante’d up past the point of rationality (*cough* SPN) and you will have really fucked up any perspective on what your character actually cares about (also see “Winchesters comma The”).  Like, all right, y’all, look, if you’re going to ante up every season, bring in a bigger threat, then you need to PACE YOURSELF.  Do NOT just go straight for “Literally the biggest bad in the universe,” do not just pit your characters against the Apocalypse and avert it outright and then just come back the next season with ANOTHER Apocalypse.  (There are times where ‘multiple Apocalypses’ can become a running joke, see: Buffy, but you gotta spotlight that shit and have your characters be blase about it, okay, if you’ve done three possible Apocalypses in a year, your characters have to treat this like just another day at work.)  Because you know what, after the fifth time I’m promised A Real Actual Facts Biblical Apocalypse that everyone is so worried about, I am going to be expecting that you shit or get off the pot.  Give me your goddamn rain of fire or S T O P.  Similarly, if you make something a huge plot point for a season or two, like one of your characters being Not What We Thought (Sam Winchester), or being Possibly Corrupted By Evil (Sam, and then Dean, and then Sam, and then Dean, and then Cas, and then I stopped watching), you need to CARRY THROUGH.  The thing I’m specifically thinking of here is the Sam thing in the first couple seasons, the whole “well he’s a hunter but also demon blood” thing that they devoted two seasons to.  Like.  You can set that up, totally, I set up a novel on that premise so I’m not going to judge, but then you need to stick to your guns.  It’s a risky move, plot-wise, because it explicitly aligns a protagonist with the Dark Side, as it were.  It’s Plot Russian Roulette.  But then you have to pull the trigger.  You can’t flinch and drop that plot point once you’ve put a lot of time and effort into it.  Because once you drop THAT alignment with the Dark Side, you’re going to feel compelled to ante up (see above) and that will get out of hand and your characters will suddenly need to ante up from SATAN, literal goddamn SATAN, and like I’m sorry but that…that’s just fucking embarrassing.

TL;DR: I have a chip on my shoulder the size of Mount Rushmore, tragedy is only interesting if it’s unusual, characters are only interesting if they’re not one-note, and go ahead and play Plot Roulette, but don’t flinch when you pull the trigger.  And SPN flunked all of these criteria, thus the chip.

(Source: starsarewishesindisguise)