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headspace-hotel · 4 months

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Problems like climate change, where solving them requires millions of people to collectively work at hundreds of different solutions at once, are black holes for internal peacefulness because they give you a type of frustration where you alternately become bitter towards yourself or everyone around you. "If only I could work harder to fix the problem!" makes you exhausted, so you must become angry at others: "If only they cared about the problem!"

People who are already working on fixing climate change need to convince more people to work on it. And a popular thing is to share writings that describe how doomed we all are if climate change is not fixed, how terrible everything will be because of climate change, and how quickly all the treasures of our world are being lost.

There is a particular understanding of human behavior that is being accepted here without thinking about it hard enough. Popular news media shows headlines with terrible prophecies, written that way in hopes of getting the attention of otherwise disinterested people, who will then be "motivated" to fix climate change.

The trouble is that fear is no good for motivating thoughtful, patient, steady commitment to solving a problem. Fear is made to cause an organism to avoid things that might harm it. It creates a brief and explosive pulse of action where the organism's energy pours out as it instinctively, thoughtlessly reacts to escape the danger as fast as possible.

It's silly to blame people for avoiding thinking about climate change. The point of an organism responding to stressors is to avoid them. Oftentimes, the only tool people are presented with is personal choices about what products to buy, which inevitably is horribly frustrating and stressful, since a person will frequently be coerced by their situation into buying a certain product, and even if they don't they see others doing it all the time.

Relentless exposure to imminent threats that cannot be escaped causes Trauma, which severely impacts a person's ability to be resilient to stressors.

I think there is definitely a type of trauma associated with being constantly aware of the destruction of the environment and feeling helpless to do anything about it, especially since we as humans have a deep need for contact with other living things and aspects of the natural world, such as trees, water, flowers, and animals—a need that is often totally denied and treated as merely a Want or a hobby meant only for certain people who enjoy particular activities, like Hiking or Gardening.

We need to expand our minds on how this disconnection can hurt a human being. Imagine if a child's need to be loved by their caregivers, a person's need to be loved by their friends and family, was treated as a desire for indulgence or luxury, or a certain use of free time!

Yes, yes, one person has a condition that makes it hard to walk up hills, another doesn't like the bright sunshine, another is allergic to the grass or fungal components of the outdoor world, but WE ARE PART OF THE FAMILY OF ALL LIFE ON EARTH and WE EXIST IN SYMBIOSIS WITH THE ENVIRONMENT WHICH TAKES CARE OF US. Who showed you what beauty was, who taught you to feel peace and relief inside you in the form of a caressing breeze and rustle of leaves, who gave you awe and wonder at seeing the stars or the mountains? Where does every delicious food come from but the soil teeming with creatures? Isn't the most perfectly sweet berry grown from a plant, nurtured by the soil and pollinated by the bugs? Don't you feel delight at seeing a springy carpet of moss, a little mushroom, or a tiny bird? Think of all that the trees give us. Whose breath do you breathe? Whose body frames your home?

The writings of Indigenous writers such as the book by Mary Siisip Genuisz I am reading right now show me that the other life forms are our family. They take care of us and provide for us, and they would miss us if our species disappeared. Isn't that a powerful, healing fact? I think everybody is so enthusiastic about the book Braiding Sweetgrass because it is a worldview that those of us coming from the dominant colonizer culture are straight up ravenous, starving to death for.

Maybe, I think to myself, humans can experience a kind of trauma from being deprived a relationship with their Earth, just as they would experience trauma from being deprived relationships with other humans.

I really believe that it hurts us to be surrounded by concrete instead of soil, to see a majestic tree cut down on a whim without any justice possible, to see wild animals mostly in the form of mangled corpses on the roadside, to have poison sprayed everywhere to kill the insects that life depends on, to hear traffic and lawn mowers and weed whackers instead of birds and flowing water.

We KNOW that this is physically bad for our health, the stifling, polluted, and stressful environments of a civilization that doesn't know the ways of the plants, but I think it's a kind of moral injury too, right? To see a beautiful field turned into a housing development of ugly, big, expensive houses—no thought given to the butterflies and sparrows and quail of the field? To see a big old tree cut down, a pond full of frogs obliterated and turned into a drainage ditch beside a gas station? They aren't just things, they are lives, and while expansion and profit and progress are "necessary," a nice old field of wildflowers or a pond full of frogs are a different kind of necessary. I remember feeling this as a child without words for it—the sheer cruelty of a world that is totally without reverence for the other creatures.

"They own the property, they can cut down the tree" "They bought the land, they can do what they want with it" <but it can also be wrong, and many people know this on some level, even though our culture doesn't provide us with the framework.

Fear could never give people the motivation to fix climate change. Constant fear of what will happen in the future forces a person to protect themselves from the relentless stress by shutting it out entirely or developing apathy.

A fear based argument for fixing climate change either causes a worldview of nature with no bond of kinship at all, based on the physical and practical dependence on Nature as a "resource," or forces people to experience their kinship with Nature only through grief.

Fear tells us that we want to live—it does not tell us WHY to live. If a person tries to live on fear alone, they will eventually find the desire to live burdensome and painful in itself. I see this emerging on a society wide scale in the USA, feeding on influences from the Christian evangelicalism that sees the Earth as something already sullied and worthless, to be thrown away like a dirty tissue, and on the looming monolith of nuclear winter that gave our parents recurring nightmares as children.

If you go to r/collapse on Reddit (don't do that) you will see a whole community of people who cope with the threat of climate change by fantasizing about it, imagining it as a collective punishment for all humanity and a cathartic release from the present painful situation.

We cannot learn to live without seeing the reason for living. We cannot save the Earth without loving it. We cannot heal nature without caring for it. In order to collectively take action against climate change, we must be moved by something other than fear—and that something is love. Not just love of the outdoors as an activity, but love of the Earth as something that loves us.

The dominant Western culture cannot borrow Indigenous land stewardship techniques as though they are just one climate resilience strategy, without being also willing to change its dreadfully impoverished way of viewing human relationships with Nature.

What right have we to think, "Huh, maybe those guys were on to something with the multi-level polyculture systems and controlled burns" while still thinking humans are nothing but a disease on the Earth, and that Earth would be happy to be rid of us? The sustainable ways of using the land practiced traditionally by cultures who have lived in relationship with their ecosystems for many generations work because humans can exist in mutualistic symbiosis with the life forms around them. We care for them. They care for us.

I know for a fact that plants seek relationships with us, and I was taught by them to see how interconnected everything really is, and how I was made to be a caretaker of my ecosystem. I was, a few years ago, just as I describe above. Too scared and pessimistic about the future of nature to bother loving it, and because of this, I could not realize my niche in the ecosystem. It felt for many years like I could do nothing—i believed in climate change, but I felt hopeless, so I put it out of my mind. But when I began to cultivate a love and reverence for the sad, scraggly, beaten-down fragments of Nature around me, everything changed. So much became possible.

I am still learning and exploring, trying to open my mind to ideas totally different than the ones I knew growing up, paying close attention to every plant and learning its ways. And it stuns me to think—some people write about climate change without this process.

The author of the book "The Uninhabitable Earth" (a scary book about how doomed the Earth is because of climate change) says in the beginning of the book that he is not very much of a nature lover. You fool, love is our most powerful evolutionary adaptation!

#climate change #the ways of the plants #plants #nature #environment #symbiosis

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retroellie · 4 months

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The Other Woman

Summary: After seeing Lila kiss spencer in the pool, all reason leaves your body and creates a jealous mess inside your head. You can thing of only one way to dull the ache of jealousy.

A/N: This lowkey sucks but it's whatever :) I'm so unmotivated and my writers block is terrible omfg. I hope y'all enjoy though <3

Warnings: NSFW, cheating(ish), L*la, Mommy kink, face sitting, unprotected sex, unexperienced spencer, normal Criminal Minds stuff

Word count: 7.6K

Of course, you knew you were acting like a teenage girl, the petty silent treatment was straight of a high school romance. Reid was just trying to do his job, he was told to do something, and he did it. So, you shouldn't be angry. He was trying to prevent another victim; he was trying to protect Lila. Fucking Lila. If it were anyone else, then maybe you would just be able to forget it, but it wasn't someone else. It was her. It was hot blonde, breakout movie star Lila. Her and her perfect body, pretty face, long legs, her beautiful smile, and her money. She was everything a man could want, so what stopped Reid from wanting it too?

It made you uncomfortable in the first place, him being the one to stay with her. You asked Gideon if maybe Elle could do it or even Hotch, but he said since Lila and Spencer were somewhat friends, it would make her more comfortable. But what about you? What about your comfort? You decided to leave your pettiness out of your work, keep your jealousy to yourself, and catch the stalker so you could get out of here, go back to your stupid life with Reid.

You were already feeling sick enough about the entire thing, she could steal Reid from you in a heartbeat and all you could do was let her... But seeing him in the pool with her, her only in a bathing suit and him soaking wet. It played with your heartstrings, wondering everything that could've happened. Spencer couldn't look you in the eye, even after you asked him if he was okay. He just let out a small hum, looking down at his gun while he tried to dry it off. You knew something had happened; did you even want to know? You asked yourself.

You had no choice since Morgan shoved the camera in your face. The pictures of Lila and Spencer, her lips on his. 'Of course, she looked pretty when she hungrily made out with someone' you thought, rolling your eyes mentally. Spencer just watched your face, as it contorted into an unknown expression to him. He was a profiler, yet he could never read you...you were completely foreign to him. It intrigued him when he first met you, it frustrated him. Spencer Reid was a genius, he knew everything. So, him not knowing your brain frustrated him. That's exactly why he fell in love with you, he had to work to understand you and he ended up falling in love with you trying to figure you out.

Spencer opened his mouth to explain himself, but you dismissed it by explaining how you didn't think that the man who took the photos was the unsub. You explain how "he was too cocky and too visible; the unsub would have been more careful than the trespassing paparazzi." You did have a new lead however and you didn't hesitate before you ran off to go follow it. You just wanted to get away from Spencer, you needed to be away from him. You should have heard him out, you would've heard him out but as said before... It was Lila. Girls like her always got what they wanted; they didn't even have to fight for it either. So, you knew how this went, Spencer would leave you for her and you would have to work with him for the rest of your life knowing... you allowed him to be stolen.

You eventually caught the unsub, well Spencer did. It was one of Lila's friends, Maggie. She was desperately in love with Lila but Lila wasn't in love with her back, she killed her victims to show her love for Lila. You somehow understood how she felt as fucked up as it sounds. You understand why people kill for the people they love, how they would do anything just for the person they love. You could see yourself doing that for Spencer, it scared you of what you were willing to do for him. After Maggie had been caught, Hotch told the team to meet back at the local police departments to make their reports. However, you headed back to the hotel, stating that you had fallen sick to Hotch. Obviously hotch knew, he wasn't stupid and he didn't need to be a profiler to know what you were feeling. You were hurt.

So here you are now, in your hotel room... alone. You were writing your reports for other cases, completely neglecting the Lila case. In the state you were in, you couldn't even think of a blonde woman without the heartbreak sensation creeping up again. You hoped to do other cases, the most gruesome cases... The cases with blood and guts would help make that feeling go away or at least dissolve the lump in your throat. You felt like you were 16 again, watching as your prom date went into the bathroom with the popular girl. Your stomach sank as you saw him holding onto her hand, leading him into the biggest stall... all you could do was watch. You suddenly felt every stitch of your dress, all your organs working together, every light molecule on your skin. It was hell.

You were pulled out of your thoughts by a knock at your door, your heart dropping as it did. You would think of years of profiling psychopaths, you would be able to handle a knock at the door. For some reason that knock was the scariest thing to you. You sighed softly, putting the paperwork that was sprawled out on the hotel bed to the side and throwing yourself over the side of the bed. You walked to the door, the cold air of the hotel room making you shiver. Your hand touched the cold doorknob, pulling the door open and seeing a figure. Your eyes adjusted and soon you were met with his brown ones.

"Hi..." He said, giving you a soft smile.

"Hi." You said coldly.

It was an awkward encounter for sure, something that happens often but it's more comfortable than this. As of now, all you could think about was Spencer's face smashed up against hers. You were now hyper-aware of everything around you, feeling as though you could hear the colors making up the room. Spencer just stood there, hands in his pockets and giving you that strange grin.

"You weren't at the police station... Hotch told me you were feeling sick." He started, trying to pick up a conversation but for the first time since you met Spencer Reid... he was at a loss for words.

You nodded, confirming Hotch's statement. You could tell what he wanted to ask, so desperately. You were a profiler, you could tell by his fidgeting hand, his eye twitch, the way he couldn't make eye contact with you for more than 4 seconds... He was holding himself back. Spencer knew he did wrong, very wrong. Not only with you but professionally. You're not supposed to kiss a civilian you are told to keep watch on as a federal agent. It's inappropriate and wrong... but Reid could care less about that fact, the kiss meant nothing to him. He was more worried about you. You hadn't talked to him since you saw him in the pool with Lila, you didn't tell him you were going back to the hotel, you didn't even kiss him goodbye before you left Lilas. You bit your lip softly, playing with the flesh as you looked down at your feet.

"Uh yeah..." You started, looking back up at him. "Must have eaten something bad or something..."

Spencer didn't believe you, not for a second. He was never good with social cues but at this moment, he could read the situation better than anyone. However, Spencer has never been in a relationship before... you were his first everything. He'd never been exposed to the petty drama that comes with having a girlfriend, so he wasn't too sure how to go with this conversation. He knew he did wrong, but how does he go about communicating that with you? He doesn't want to make it seem like you're overreacting or you are stupid for being mad... damn, maybe he's overthinking it now. If Spencer Reid is good at anything though, it's statistics.

"You know..." He starts, about to go on one of his Reid rants. "Statistically, 58% of the time people don't actually have anything wrong with their stomach. Mostly it's more psychological than it is physical. Mostly caused by anxiety, guilt or anger."

You were used to these Reid rants at this point. Being with Spencer Reid for 2 years and knowing him for even longer, you have a lot of useless information in your brain that he has nonconsensually given you. You let that information sink into the part of your brain that you will most likely not return to, not even going to attempt to comprehend what number he had just given you. Your face automatically contorted itself into a look that said "Please shut up, leave me alone, and never perceive me again.".

"You think I'm lying?" You ask, not sure whether you're actually offended or it's because you can't get the picture of her kissing him out of your head.

It wasn't Spencer's intention to make you upset, no... that's not why he came here. He just knew that it was deeper than a stomach ache, he knew that your mind was going wild with possibilities and him knowing you, he knew you wouldn't say anything about it. Spencer knew why you did the work you did, he knew you couldn't solve your own problems so you decided to solve others. That's why Spencer didn't wait for you to come to him because he knew you never would. Spencer shook his head eagerly.

"No! no... of course not." He blurted out, looking everywhere but your eyes. "I'm just saying that i think the stomach ache your feeling isn't really a stomach ache... maybe it has something to do with the thing that happened with me and Lila."

The sound of her name sliding off his tongue sounded so frictionless... so effortless. It made you wonder if your name sounded the same, suddenly you forgot what your name sounded like coming out of his mouth. You shook that feeling off real quick, hoping if you pushed it down far enough it would simply go away. You weren't stupid though, you knew what pushing things down would do. It would turn you into something not human, or maybe something that is between a human and something else... it would turn you into Maggie or maybe even the hundreds of people you catch a year. It's funny how you can figure out another person's shit so fast, yet you are still wondering what your shit even is.

You sigh softly, rolling your eyes as you step away from the door and making your way to the small hotel "kitchen". The only thing the kitchen was good for was making coffee or tea, something that you have been living on for the past couple of years. You've found yourself purposely making it bad, the BAU will ruin you like that. You poured yourself some coffee, hearing Spencer walk in and shut the door behind him.

"Or maybe I just have a stomach ache." You say softly, putting the coffee pot back and then pouring pounds of sugar into your coffee. "Besides, it doesn't really matter anymore. The unsub was caught, Lilas safe... we did our job."

Spencer bites his lip nervously, watching you bring your coffee up to your lips and take a swig. As said before, Spencer isn't good with relationships or girls... or really anything that isn't statistics and books, so he isn't sure how to tell you that he is worried about you. He likes you, he'd probably go as far as to say he loves you and he doesn't want this to end. He knows that this will not end well, that your bottled-up emotions will be the end of your relationship. Spencer notices all the case reports scattered over your bed, seeing how you haven't even started on the most recent one... lilas.

"I read in one of my books about human relationships that most relationships end due to no com..." He starts, being interrupted by your tired, jealous self.

"Please, Spencer! enough with the statistics..." You spit, almost yelling... something you've never done to read. You turn to face him, coffee cup still in your hand, burning your skin. "Just spit out what you're trying to say to me."

Spencer gulps slightly, seeing how angry you've already become and you've only bottled this much hatred for less than a day. He knows you don't mean to yell, he knows it. He knows this job does this to a person, makes them angry... messes with their head until they are only a shell of themselves. Spencer adjusts himself, not sure what he is going to say but his plan is just to speak... hoping that the words will form as he does so. He licks his lips, taking in a breath and facing you finally.

"What happened between me and Lila..." He paused, gathering all the courage and breath he had left in this moment. "It meant nothing. I mean yeah we kissed, I mean she kissed me. I told her I had a girlfriend, multiple times. She still did it and I was shocked that I let it happen... but I felt nothing. I swear. And I know you don't want to talk about it, it's uncomfortable and it hurts you too, but I want to talk about it because it hurts me when I think it hurts you. This job can take whatever it wants from me... but I can't live with myself if I let it take you from me." He rambles out.

His breath gets heavy, all the oxygen from his lungs being taken from that single rant. He could've gone on, he wanted to go on but the look on your face made him stop. You looked even more hurt... or did you look relieved... Spencer couldn't tell, you were too hard to read for him. You couldn't explain the feeling either, it was a mix of everything. It was a mix of guilt and content... but most importantly, lust. The ramble had your face heating up and your underwear dampening. You shouldn't be feeling this way at this moment, no... not when your poor boyfriend just poured his heart out to you. but the way his voice was whiny... the way he begged for you, the way his face was now flush... How could you not?

You set your coffee cup down, making your way over to his tall figure. His breathing stopped almost as he could feel your presence getting closer to him, he'd never felt this uneasy in your presence but in this moment, he was afraid of what your next move would be. You were now face to face with Spencer, looking up at him with doe eyes as you watched him nervously fidget with his bottom lip. This feeling you felt was not new, it was something you felt for Spencer when he did pretty much anything. The deep fire that sparked within your stomach was always there when around him, something you were able to control and others... Well, you had to strip him down right then. However, you had never felt this feeling be so potent, so overwhelmingly rich.

"You really mean it?" You said simply, wanting nothing more than to hear him say he wanted you more than you wanted him. Spencer cleared his throat, shifting on his feet as he nervously stood in front of you.

"Yes...I really mean it Y/N." He admitted, his voice laced with desperation. He just wanted his girlfriend, that's all he's ever wanted.

You grin softly, eyes slightly watering as you hear his confession. You knew that Spencer would do anything for you, anything. But hearing it... hearing it gave you a sudden power rush. It made your hands shake, complete dominance running through your body. Your grin caused Spencer to relax, knowing that maybe there was a chance you could forgive him. Your hand snaked its way up to his tie, playing with it. Spencer watched this action, and the sudden realization of how you were feeling crept up on his mind. You weren't the one for punishments, you believed sex should be something that is for praising the other... not punishing. However, the mere thought of you punishing Spencer made both of you weak in the knees.

"i want to believe you, Spence..." You spoke your voice slightly over a whisper. Your hands are still rubbing the soft fabric of his tie between your fingers, flicking your eyes back up to his. "But I can't when you're using that mouth to make excuses...."

You smile up at him innocently, as if you weren't teasing him. Spencer gulped down a whimper, your voice almost having him bust in his pants all ready. You yanked him down to your level by his tie, tugging on it roughly as you forced him to make eye contact with you. You took your free hand to push his hair back from his face, watching his tie rub roughly against his neck. You took your hand, leaving light touches all over his face... tracing every bump, every mole, every scar across his face. You thought he was the most beautiful man you'd ever seen, but so did Lila.

"What can I do..." He started, pausing his sentence as he basked in your soft touches. "to uh... to make you believe me?"

You let out a chuckle, your finger pulling down his lip and then letting it bounce back up. You bit your lip, trying to keep your dominant persona up, but something about the way he was so desperate to please you... the fire burned hotter deep within you.

"I can't tell you... guess you just have to know." You stated. You wanted to keep him on edge, make him more desperate than he already was.

Spencer moaned softly as your grip on his tie tightened, his air getting restricted now but he felt... oddly good. You two were new to having sex at this point, Spencer had just given his virginity to you not even 2 months ago. Yet you both have had sex so often that you both knew each other's bodies inside and out already. He didn't know what he liked or what he wanted, all he knew was he wanted you and only you for the rest of his existence. Spencer couldn't help himself anymore, he smashed his lips into yours. The kiss was full of desperation, his hands making their way into your hair, sometimes pulling but mostly he used it to keep you in place.

It was messy and very sloppy, it was like a normal makeout session for you. Spencer couldn't help himself but to be messy with you, he wanted so much of you that it made him claw at your skin. You didn't mind it, you let him explore your mouth with only his tongue because you fed on his desperation. Your hands made it up to his cheeks, pressing his mouth even closer to you. Your teeth clashed with his, tongues fighting with each other, squirming against each other. You both could have stayed like this for hours, probably coming undone just by kissing but you wanted more.

"Spencer..." You moaned out, pulling him away from you slightly. You looked up at him, the desperation in his eyes to keep going. His lips were kiss-bitten, his cheeks red and his eyes wet. He whimpered at the loss of your lips, breathing heavily as you examined his face. "Take off your clothes and get on the bed."

Your voice was demanding, causing Spencer to jump to what you wanted him to do. You watched him eagerly take off his shirt, his tie getting stuck and frustrating him. Then he worked his way down to his pants, taking off his shoes while he was at it. He left his boxers on, knowing that you would soon take them off anyway. He sat on the bed, waiting patiently for you, feeling your eyes bore into his skin. Spencer had a strange build, skinny and lanky but his muscles were defined. You would basically drool every time you saw it, the first time you ever saw him naked you swear you came just by the view.

"Good boy..." You said, walking over to him as he sat on the edge of the bed. You set yourself on his lap, straddling him as you watched his face turn redder than it already had been. "I have been so good to you haven't I Spencer?"

You sat down on his lap, feeling his cock rock hard against the inside of your thigh. You moved his hair from his face, his hair still reeked of chlorine which created another wave of deep jealousy. Spencer nodded rapidly, his words getting stuck into his throat as you watched his face for an answer. You grinned softly, nodding with him as he let out a little hum.

"Yeah..." You started, feeling his body shake with anticipation. You leaned down, leaving soft kisses along his cheeks as you ground down softly on him. "I let you cum when you want to, let you cum inside me, I suck your dick whenever and wherever I put up with your begging and call you a good boy..."

Spencer moans softly at your words, his hands making their way to your hips as he tries to grind you down harder on his cock. His senses are already being clouded with complete lust, his need to cum is at a peak already. You chuckle down at him, his pathetic moans already filling the room and you have not even started. You trail your kisses to his mouth, forcing the kiss to be softer this time but his lips want more.

"I mean even when I should have slammed the door in your face..." You snap your hips down harshly, watching him moan out loudly. "Here I am, still calling you a good boy."

Although Spencer's moans create a softness inside of you, wanting nothing more than to let him come undone as you praise him, the deep jealousy that has been lingering in the room is creating something inhumane inside of you. You wanted to make him cry, wanted to crave insults into his skin, wanted to push him to the brink, and then take it all away from him. It's how he made you feel, seeing him in that pool with someone like Lila. even if he didn't even mean to. You knew Spencer didn't want Lila to kiss him, part of you knew that and you wanted to slap her for even putting Spencer into that position. However, you could use this anger and jealousy in a good way, a punishment that would leave Spencer feeling like he went to heaven and back.

"y/n... god..." Spencer moaned out, grinding his hips up to meet yours. You grinned softly, moving your hand from his cheek down to his neck.

His neck was already slightly red from his tie, the soft bruise already peeking through. It looked down pretty on his skin, he looked so pretty broken down. You wrapped your hand softly around his neck, setting one last kiss to his lips before you slammed him down on the bed. He gasped softly, breathing heavily as your actions scared him. He was flat on his back now, looking up at you as you straddled his hips. You could feel him throb against your thigh, his cock wanting to free him.

You took the hand wrapped around his neck, trailing it down his chest, down his belly, down his happy trail, pulling his underwear down so only his cock could spring free. You tsked softly, looking down at him as he squirmed. His cock was flush red, dripping precum as it screamed to be touched. It never failed to amaze you just how flustered and hard you could make Dr. Spencer Reid, the genius, the boy wonder.... pretty boy. You weren't exactly what you would assume his type would be, not that you weren't attractive but completely different from Spencer Reid.

You two were like night and day, favoring different things yet being made for each other. Sometimes you would get insecure about it, especially when you two were very public about your relationship. How could someone who knew exactly what they were doing be with someone like you? You thought, sometimes it kept you up at night. How someone like Spencer could be with you, how he could look at you and see only beauty. It freaked you out to say the least and maybe that's why the two of you were in the position in the first place, your insecurities getting the best of you.

"So needy already... I've barely touched you." You tease, biting your lip at the sight of him.

You set your hand on his cock, leaving feather-light touches to it as he squirmed more. You gripped it lazily, moving your hand up and down his cock. Your free hand began unbuttoning your dress pants, zipping them down, and yanking them off your body. You teased Spencer about being the eager one, but you couldn't handle much more of him not being inside you. Spencer threw his head back as you continued to stroke his cock at a slow pace, his eyes shut tight as he was already on the verge of cumming.

"That feel good honey?" You asked him, sure that he wasn't going to be able to answer you. "feels so warm... so wet..." You teased, drawing out your words to push his buttons even more.

You leaned down, hand still pumping his cock as you started leaving soft kissing along his neck, something you knew he loved dearly. Your hand movements were sloppy now, encouraging him to grind his hips into your hand. His thrusts were sporadic, no real rhythm as he was so clouded with the thought of cumming in your hand.

"Feel so... feel so good..." He moaned out, his mind not allowing him to think of a coherent sentence.

That was all you needed to know that he was close, that in the next seconds, he was going to make a mess out of your hand. You pumped him a few more times, watching as his body shook slightly. But then as his orgasm almost washed over him... you pulled your hand away. He whimpered softly, eyes filling with tears as his overstimulated and teased cock throbbed. Spencer had never felt this pathetic, just like you said, you let Spencer cum whenever he wanted to. So you helping him to the edge just to take it away in mere seconds, made this boy into a whiny mess. He would even go as far as to say you spoiled him, always allowing him to make his messes anywhere and everywhere.

"What... why.." He stuttered, not sure what to say but he felt he had been robbed of a mindblowing orgasm. His pouting made you smile, seeing how worked up and ashamed he had become.

"Awe, I'm so sorry baby..." You teased, kissing his neck softly as he desperately tried to feel for your lips with his. "But only good boys get to cum..."

Spencer bucked his hips up into nothing, his stolen orgasm making his stomach ache. Spencer would do anything, anything... just for you to let him cum. He would beg and plead for it, he would murder for it. The mere thought of Spencer willing to do anything just for your hand, sent your body into overdrive, the power rush taking over your own senses until it felt you could only be satisfied by seeing Spencer cry. Spencer huffed and puffed roughly as you continued to lay your kisses on his neck, knowing how weak it made him. His breathing was irregular and it felt as though with every struggling breath, his air was being stolen from him.

"Fuck... please..." He whimpered out, his hands reaching up to your hips once more trying to grind your body against the aching cock. "I'm sorry okay... fuck... I'm so sorry, I'll do anything... I'll be such a good boy for you, just please... fuck please Mommy!"

The word stumped you and took you completely off guard. Spencer was very new to sex and you were new to sex with him, but Mommy?!? You would've never guessed Spencer Reid would have a mommy kink, you should've known simply because it was clear. Spencer Reid has mommy issues, so seeing you as dominant during sex was basically a given, you're a profiler for god sake. You stopped your soft kisses on his neck, bringing your head up to see his horrified reaction to his words.

He was taken aback as well, those words feeling so wrong coming out of his mouth but yet so arousing to him. He always felt the need to hold back the word when you guys had sex, out of fear and him being ashamed. He knew he was safe with you, but something about a grown man calling his lover mommy felt inappropriate to him. It might be his denial or him being sexually insecure, but it just felt weird to him so the only word on his tongue at that moment was "sorry". little did he know though, the word slipping from his mouth did wonders on you. Your face heated up, your cunt wetter than ever, and your urge to cum at a peak.

"I'm so sorry... that was really weird, I'm so..." He started but was rudely interrupted by a very annoyed you.

"Spencer... it's fine, you worry too much." You giggled, trying to reassure him that you were more than okay with his surprising kink. You leaned down once more, pecking his lips with yours to hopefully put him at ease. He eagerly kissed you back, once again pulling you into a sloppy kiss. "How about you show Mommy what you can do with that mouth huh?" You said in between kisses.

Spencer let out a shaky breath, the possibility of how this night would end filling his brain. The shame he felt now was turning into something else, something enjoyable as you teased him about it. He nodded his head, agreeing to whatever you wanted him to do. You smirked, pulling your panties to the side and climbing up his body. Spencer wasn't sure what you were doing, never having been in this position before but his confusion was taken over by pure hunger when being face to face with your cunt.

"If it gets too much or you want to stop, tell me, okay honey?" You stated, looking down at him, his face already slick with your juices. He nodded, looking up at you with eyes that begged you to sit on his face.

You nodded back, getting yourself comfortable before lowering yourself down onto Spencer's face. He knew what to do almost immediately, licking your clit and nuzzling his nose straight into your cunt. Like everything Spencer when it came to sex, it was sloppy and eager. There was no real pace, just Spencer going crazy on your cunt. You couldn't help but rock your hips back and forth slightly, completely forgetting how good Spencer's tongue felt.

Spencer eating you out was no new thing, it happened quite often. He preferred when you two would use your tongues and fingers to pleasure each other. It felt more intimate to him and if he was being completely honest, he felt he was better with them than he was with his dick. He felt he had more control over you when he used his tongue, not to mention when you would touch him he would quite literally forget everything especially how to move his body. So eating you out made him feel more in control and in a career where he was always fighting for control, it was a nice change. Although this position you were in now, sitting on his face, was foreign to him, but he liked it.

You were starting to feel that coil inside you tighten, the sign that you were about to cum all over his face. You gripped the sheets, now moving your hips roughly to the movements of his tongue. Spencer had started sucking softly on your clit before teasing your opening with his tongue, he couldn't pick which he wanted to do so he tried to do both. For a minute there Spencer forgot he even had hands, his mind only on lapping at your cunt and tasting your juices flowing down his tongue.

"Spencer... fuck..." You moaned out, throwing your head back as you tried your best to stay upright. "remember your hands..." You directed him.

Spencer mentally scolded himself for that, knowing that in the past you scolded him for not using his hands. Spencer couldn't help it though, he wanted to taste all of you and his hands were the last thing he was worried about. Spencer brought one of his hands up to meet your cunt, digging his fingers into you. The feeling of his fingers exploring inside you had you grabbing at his hair, holding his face in place as you bucked your hips onto his fingers. Your movements only egged Spencer on, his fingers curling up to feel for your g-stop and his mouth latching onto your clit.

You were now the one who was a whimpering mess, curses fell from your lips and your hips forced themselves down onto Spencer. You were close, feeling that the coil became more tight as your back arched. Your thighs began to shake, your vision blurry as Spencer finally found your g-spot. It only took him only 3 curls of his fingers before that coil snapped.

"FUCK!" You screamed out, not surprised if the hotel heard you.

Spencer licked and pumped you through your orgasm, something you taught him how to do. You can remember the first time he had ever eaten you out, as soon as your cunt oozed out your juices... Spencer got scared that he had done something wrong, completely stopping his movements and cutting your orgasm short. You taught him that it was a good sign and what he should do while it was happening. You were proud to say that you taught Spencer right, you were the one who taught him how to please a woman... Can Lila say the same?

You hunched over on top of Spencer, shaking slightly as you recovered from your orgasm. Spencer slid his fingers out of you, placing them in his mouth as he licked them clean. You watched as he did, the sight alone creating a new wave of horniness over your body. He wanted every little speck of you, wanting to taste everything you had and he would gladly enjoy it. You shifted yourself down Spencer's body, once again straddling his hips.

"Was I a good mommy?" He asked innocently, his voice almost a whimper. He looked innocent as ever, even with his face soaked with your cum, he just looked so heavenly. You placed your hand on his cheek, wiping off the mess you had created.

"So good my love..." You whispered, watching his face turn a bright red once more. The words "my love" echoing in his ears, making his cock throb more. "How about mommy take care of you now huh?"

Your words rushed straight to Spencer's cock, forcing himself not to cum just from your words. Spencer nodded, breathing heavily as you pecked his lips with yours. You could taste your own cum on his lips along with spencers cherry chapstick that he always seems to be wearing. You let Spencer explore your mouth once more, taking what he needed from you as you once again wrapped your hand around his cock and lined it up with yourself. Spencer bucked up to meet your hips, being the greedy little bastard he was and wanting to thrust himself into you. You chuckled at his neediness but gave into his wishes, slowly setting yourself down onto him.

"Fuc..." Spencer whined out, throwing his head back in bliss.

You didn't know what happened at first, thinking that maybe Spencer was just that excited to be inside you once again. Then you felt it, his hot cum coating your walls already. You hadn't even put him all inside you and he had already come. Spencer's face contorted into pure pleasure, nails digging into your hips as he drenched your insides with cum. He was too in the clouds to realize what he had just done, it hit him too suddenly and way too hard for him to think. but eventually, he came down and sudden embarrassment ran cold through his body.

"Shit... I'm so sorry, I didn't mean to. It's just h..." He started, rapidly trying to apologize for cumming so early even if it wasn't under his control. His apologies got cut off by you fully sitting down on his cock, his cock now nestled deep inside of you.

Spencer once again through his head back, his words fading into whimpers and whining. You smiled at his reaction, your cunt feeling his dick get hard once more. Spencer never knew that he would be in this position tonight or really ever. He never knew in a hundred years he would be deep inside his coworker, a babbling mess underneath her, and basically prematurely ejaculate inside of her. but somehow this is where Spencer feels he wants to be, maybe not the cumming so soon part but being underneath you.

"No need to apologize Spence..." You moan out, shifting your hips slightly. You bring your hands up to your shirt and slowly work your way down the buttons. "You deserved to cum in mommy, you did so good with your mouth."

You yank your shirt off, revealing your black lacy bra Spencer had bought you days before. Spencer's breath hitched, his memory of buying that in the first place coming back. He was at the store, buying whatever he needed for that night when he accidentally stumbled into the women's undergarments section. He attempted to cover his eyes, but for some reason, they kept landing on the black lacy bra you had right now. It was embarrassing for him to be buying it, going to the checkout, and praying the cashier didn't even think twice about it, it didn't help that the image of you in it had him rock hard.

You bucked your hips softly, feeling every single inch of Spencer nuzzling inside of you. You watched his eyes, seeing how they planted on your boobs. You chuckled softly, reaching your hands to him that were sitting on your hips and bringing them up. You placed his hands on your breast, knowing that Spencer would be too shy to do it himself. You held his hands there, feeling his hands squeeze them gently as you did.

"I wanna..." You start, being interrupted by a soft moan that escapes your mouth as Spencer starts to thrust his hips up to meet yours. "I wanna make you do it again... i want you to cum in me again..."

That is all Spencer needed to hear, his stomach already creating a tight coil that could break at any moment. Your thrust was starting to pick up, his cock being pulled almost completely out of you before you slammed your hips back down to push him all the way into you. With Spencer's cock deep inside you and his hands squeezing your tits roughly, you felt you had died and went straight to heaven, or was this hell? Because you doubted you could find sex like this in heaven, this was dirty and sinful. The curses dripping from each of your mouths and spencers moans that sounded like something straight of a porno filled the room and most likely the entire floor of the hotel.

You couldn't hold yourself up anymore, hunching over Spencer as your hips continued to thrust roughly. Spencer moved his hands back to your hips for the hundredth time tonight, helping you thrust his cock inside of you. You were both overstimulated, your clit sending shocks of electricity through your body every time it made contact with Spencer's lower stomach. The coil inside you threatened to burst, frustration filled you as you tried desperately to bust it open and make more of a mess than it already had been. You reached down in between your legs, rubbing the small bud and sending lightning through your body.

"Fuck... gonna cum...gonna cum on your cock..." You moaned out, stuttering every time Spencer's cock filled you up.

Spencer took that as a sign to thrust harder back into you, moving his hips up and forcing your hips down. You were on the edge, every single inch of your body on fire as you fucked yourself onto Spencer. and with one single hard, deep thrust from Spencer... the coil in you snapped once again. You shoved your face into the sheet next to Spencer's head, screaming into them as you came all over Spencer's cock. You felt this feeling couldn't get any better until you felt Spencer's hot cum flow through you once again.

You were too in your own world to even hear Spencer's loud scream/moan he did as he came deep inside you, you both being thrown out of your own bodies as you came. Your juices flow together to make one big mess out of the sheets, something that will be embarrassing for the housekeepers to clean in the morning. You both laid there for a minute, basking in each other's warmth and feeling spencers cum seep out of your cunt.

It was strange to you, how you would much rather Spencer's cum dripping out of you than... well anything in life. You weren't exactly the most sex-driven person, but at this moment you knew why some people were. Spencer somehow got into your head, planting himself into it and keeping it hostage. With that being said, you couldn't stay mad at Spencer, you honestly completely forgot why you had been pushing him in the first place. The name Lila is so far away from your thoughts, that you don't actually care anymore.

You slid Spencer out of you with a wince, flopping down next to him as he came down from his high. You shifted to your side so you could watch his pretty face, his eyes fluttering open, his mouth trying to steal whatever air he could get... He looked blissful. You felt oddly proud about it, knowing that you were the one to do that. However, through the pride, you felt a deep guilt. Spencer was the kindest boy you have ever met, he chose you to give his heart to. Yet you were upset with him because he kissed another girl? No, he didn't kiss her... she kissed him. You felt petty now, the regret of ever questioning Spencer's loyalty mended into your brain.

"I'm not mad at you, you know?" You're tired, worn-out voice making it sound like a whisper. Spencer sighed softly, clear that he had forgotten as well and now he's remembered it all again. "It's just...seeing her with you, it just brought me back to high school you know? It made me feel how I did when fucking Rachel Clark tongue fucked my prom date..." You let out a soft sigh, playing with Spencer's hair as you talked.

"You know it's normal to feel that way, especially when you had a similar experience," Spencer explains, going on another one of his Reid rants. "And well, anyone would feel like that whether you had a similar experience with it or not. I know I would." Spencer's eyes wandered to the ceiling, closing his eyes due to utter exhaustion.

You couldn't imagine Spencer Reid ever getting jealous, he was always so calm about everything. You wondered what it would look like. Would he pin you to the bed and fuck the shit out of you like you did him or would he just not know how to deal with those emotions. You honestly wouldn't want to put him into a situation where he would feel that, you couldn't do that to little Spencer. He was innocent, as if the world had not touched him yet even if he does look at the dark underbelly of humans every single day.

"Yeah... well you won't ever have to worry about that my love." You said softly, cuddling yourself further into his side as you closed your eyes as well. "You're stuck with me..."

Spencer chuckled softly, at complete peace that he was stuck with you. If you were the person he was stuck with for the rest of his life, he would die a happy man. You two didn't even bother wrapping up in the blankets, you just needed each other's warmth as you lulled each other to sleep. The presence of jealousy and anger nowhere to be seen, maybe y'all didn't talk it out tonight but you sure did fuck and made up. You wouldn't have it any other way.

#spencer reid x reader #spencer reid smut #spencer reid fanfiction #spencer reid #dr spencer reid #criminal minds #criminal minds fanfiction #criminal minds x reader #criminal minds fandom

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queenvhagar · 16 days

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My perhaps controversial take on the HOTD characters, the GOT characters the writers are trying to mold them into, and the GOT characters they actually most resemble in the books (in my opinion - feel free to disagree).

Disclaimer: these are entirely disconnected series with unique characters, so it's impossible to do what the writers of HOTD seemed to be trying to do in season 1 i.e. mold the characters from Fire and Blood to fit the characters of GOT to try to recreate the success of the early seasons. Given this, I tried to choose one single character analogue from GOT that each HOTD/FB character is most like, but oftentimes the reality is that if any single character from Fire and Blood resembles a Game of Thrones character it is likely that they are a combination of more than one. All of this said, here is who I think the writers are trying to fit certain HOTD characters into vs the character they are actually most like (according to Fire and Blood):

Rhaenyra Targaryen: obviously the show wants her to be the new and improved Daenerys, a protagonist everyone can root for who wants to revolutionize the existing order. In reality, Rhaenyra is most like Cersei: a woman who seeks to use her three bastards to usurp thrones and gain even more power than she already has, all while committing incest with a family member and using her power to punish and silence her enemies. She uses the existing system to raise herself up and keep others below her. She does reach her goal of ultimate power but ultimately she is unable to hold it. In pursuit of holding onto power or gaining more of it, she watches as her children die early deaths. The smallfolk despise her for her methods of ruling. Eventually, she will cause her own downfall and die before her time.

Alicent Hightower: the show wants her to be Cersei, a mean-spirited, jealous woman protecting her problematic children and using her status as queen to put others in their place (they even used Cersei scenes as audition material for the role). In reality, I see Alicent as most like Catelyn - a flawed woman, mother to a king, seeking to further the rights of her son in the hopes of protecting her family from those who would harm them, guided by her own sense of justice, honor, and understanding of the laws of the land (and of course, hyper aware of the bastards in the room). All she wants is her and her children's safety, and she is willing to go to war for it. In the end, however, she watches as every last child is taken from her before she herself dies alone.

Viserys I Targaryen: the show wants us to see him as the ultimate father who loves his child unconditionally and always supports her, and that his view of right and wrong should be what guides the world. In reality, he is most like Robert Baratheon: a weak king unsuitable for rule whose mistakes and complacency lead to civil war after his death. His preoccupation with past events and people, and his role in a former love's demise, leads him to neglect his current wife and their children and make decisions that create long-term issues for his family and the realm.

Criston Cole: as soon as Criston turns away from Rhaenyra, the show wants you to view him as a Meryn Trant type of Kingsguard - a man unconcerned with honor and violently anti-women, more than willing to carry out terrible acts commanded of him. In reality, Criston is like more like Jaime: he seeks to make a name for himself as a knight, guided by his own sense of honor and justice, though he is judged by others as lacking such principles. His devotion to his position on the Kingsguard and his love for the royal family motivates him. Occasionally his self-confidence and delight in goading his enemies can make him appear callous and proud. Although he is not officially the royal children's "father," he has guided and protected them and their mother from early on in the absence of their official father.

Daemon Targaryen: the show wants you to both love and hate Daemon. It seems he should fill many roles that Jaime did - a sword fighter whose swagger and danger mix together, whose dishonorable acts follow him through the world. He acts primarily out of love or his pursuit of it, whether for his brother or his lover and her children. The viewer is supposed to see that deep down he is a good guy, no matter how many characters say that he's not. In reality, I see Daemon as a more capable Viserys III: a man adamant in his family's racial superiority, who believes he and his loved ones should have access to unchecked power because they're better than everyone else. A man who enjoys exercising his power over others and demanding obedience out of fear of his wrath. A man who uses his younger family member to further his own interests without much thought to her own wishes or agency and willing to hurt her if she doesn't act the way he wants her to.

Otto Hightower: the show wants you to view Otto as a new Littlefinger, someone sly about his intentions who uses spies, information, and unsavory methods to take advantage of the ruling family and further his own interests and increase his own power. I see him instead as more similar to Tywin: a Hand of the King seeking to put his family close to the throne in pursuit of legacy and advancing his family's station, a man who arranged for his daughter to marry the king so his blood would sit the Iron Throne and bring his family power for generations, a man acutely aware of the political world and how the game is played and willing to get his hands dirty to play it.

The Strong boys: the show wants you to root for Rhaenyra's perfect, good natured and pure intentioned sons as if they were the Stark boys (mixed with Jon Snow). Raised in a good family, these boys know right from wrong and love each other. Yet some people unfairly think less of them for their birth. In reality, the Strong boys are closest to Joffrey, Tommen, and Myrcella. Bastards set to inherit positions they have no claim to, they are coddled by their mother and protected from any consequences to their actions. When one attacks another child, their mother demands that the other child's family is punished for their actions (and doesn't even reprimand the child for his role in the conflict). The result is the child has no remorse for the harm done, and the other child's family festers resentment against the child. Some people uncover the truth of their birth and object to their place in the line of succession, and these people are killed for speaking the truth. Eventually, a war is fought to keep them and their mother away from the throne, resulting in all of them being killed.

Aegon II Targaryen: the show wants you to see him as Joffrey 2.0. A man interested in viewing sadistic acts for his own pleasure, who abuses women for his own enjoyment, and who is unfit to rule. In reality I see Aegon as closest to Robb: a first born son reluctant to rule as king once his father dies but who rises to the occasion to try to keep his remaining family safe. A king willing to fight his battles alongside his men, no matter the risk it might pose to him. A king who tries his best to rule but makes mistakes along the way that cost him dearly. In the end, he watches as he loses everything, and he dies young.

#admittedly I am #pro team green #in my take of the story and show #and I'm also #anti team black #so if this bothers you block the tag and dni #anyway just my take!#feel free to discuss or add more #these were just some of the obvious ones I came up with #hotd critical

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isalisewrites · 25 days

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A Deep Dive into JKR's Terrible, Amateur Writing - Part One

Welcome to my new series, where I will prove to you, dear reader, that J.K. Rowling, author of the Harry Potter series and resident Twitter TERF, is actually a very, very poor writer.

And when I say 'poor writer,' I'm talking about her prose, her sentence structure, and her scenes. I am not going to discuss anything about the HP world nor the plots of the books.

This is all about the nitty gritty in the craft of writing itself.

Disclaimer for all readers: I'm going to sound very confident in my posts. I'm going to be working under the assumption that I'm a better writer than JKR. Because I am. My apologies if this rubs you the wrong way. You're just witnessing two and half decades of experience with the intensity from a neurodivergent who is hyperfocused on her special interest. I didn't just learn how to create stories; I learned the craft of writing to a minutia of details.

After years of being beaten down by others, I will no longer tolerate that.

I will be using my writing to compare with hers to make some of my points. Some of what I say in these posts could be considered stylistic choices. However, in my humble opinion, most of this is a difference of skill, which can be learned. Yes, everything I'm going to teach and cover in this series can be learned. There's no 'talent' here. You can learn how to become a better writer right here and now. You only have to understand the craft of writing and sentence structure to better improve your prose and scenes.

I don't have fame and money.

I don't need them to teach you how to write better than JKR.

You're free to disagree with my stances about this and about everything I cover, of course. But if you're a writer, you might gain some insight from this post and I sincerely hope you are enriched by my efforts in this. I spent quite a few hours on this post. Helping others become a better writer than JKR is one of the greatest contributions I can give to society.

Thus, take what resonates and leave what doesn't.

I have stated before: JKR's writing is bloated in the wrong places, underwritten in others, and the prose is poor. These problems show up in all of her HP books.

Buckle up, my writing friends. Grab a snack. Hydrate. Let's begin.

Class is in session.

In this post, we're going to dissect a page from HP4.

There's so much wrong with this page and the three pages of this scene overall. So much to go over. Bullet points I'll cover from this page:

Disconnected Dialogue Lines

The Great Sin of Adverbs

Too much fucking dialogue!

Wrong focus altogether in this scene

Out of POV writing

First point. This is a huge ongoing issue I see in all of the HP books. There are a lot of disconnected dialogue lines, which become confusing over time. This could be an issue of the publisher, but it's still a problem. In the middle of this page, we have:

Sirius hesitated. "I've been hearing some very strange things," he said slowly.

Wait, wait, wait. Who said this? Listen, I know. I know it's Sirius. However, this is an improper placement on the page and can become confusing because Harry also goes by he/him pronouns and he's also in this scene. While the dialogue here suggests Sirius is talking, it could easily be misinterpreted if there were other characters or if he said something that Harry could've just as easily said.

To make this dialogue more clear for the reader, it should go as follows:

Sirius hesitated. "I've been hearing some very strange things," he said slowly.

Second point. JKR is an adverb sinner, a criminal. Jail. "Do not pass go; do not collect $200." Arrest her for these blatant crimes, please, for the love of god.

Look, I love adverbs. They're great. Don't fucking listen to anyone who outright demonizes them (including your huffy, uppity literature professors). Adverbs are the seasonings of writing. You season your food; you also need to season your writing when the case asks for it.

However...

Adverbs should always be used sparingly when connected to dialogue tags. The setting in this scene is: Harry is in the Gryffindor Common Room at night crouched in front of the fireplace where Sirius is in the fire in a floo call. I read through the whole scene, though I've only shown one page here.

Harry says a line of dialogue 'slowly' three times and Sirius says a line of dialogue 'slowly' two times.

The same adverb 'slowly' is used FIVE FUCKING TIMES IN THREE PAGES.

I want to scream, not gonna lie here. Set this adverb on fire!

What does this adverb do for us in this conversation? What is so important that we have to be told that five lines of dialogue were said slowly? What do they contribute? Spoiler alert: nothing. What are their facial expressions? Harry is 14. He's exhausted since it's well after 1am or so and he's burdened with the new knowledge of dragons for the first task. He's kneeling in front of a very hot fireplace. There's fire fumes and smoke, potentially. Is he fidgeting? Is he yawning? Rubbing his eyes? Bouncing a leg? Is he picking at the carpet or rug?

Harry is a tired, burdened child.

Show me this!

Now I'm not saying that you can't use adverbs in your dialogue tags. There's a huge difference between "he said softly" and "he whispered." It's about balancing the moment when an adverb says just enough versus an adverb replacing well needed scene enrichment. Let's compare this with a section from my HP time travel fanfiction, Terrible, But Great, Chapter Thirty.

Dumbledore nodded at Monty, pocketing his wand. “Mr. Potter.” “Lo, Professor,” said Monty, pout gone, but still a watchful light in his gaze. “Is there a problem?” asked Dumbledore in a mild tone. Ice slipped in between Tom’s ribs, piercing his flesh. Monty tilted his head. “No, sir.” Oh, but Tom knew better. He could see through that innocent facade. The man could’ve been a Slytherin for how much he was cataloguing every little detail, from Tom’s appearance, to the content of the selected books, and to the supplies of ink, quill, and parchment scattered on the surface of the table. Tom masked the raw, whirling feelings in his chest with a well practiced blank, emotionless expression. He willed himself to hide. “Nothing at all, sir,” said Tom lightly. “Young Mr. Potter was regaling me about his friendship with Miss Malfoy.” Monty glanced at Tom, brows furrowing. Those blue eyes were piercing, filled with suspicion. “Was he now?” Dumbledore said; though his tone was still without direct accusation, Tom could hear the hint of it. “Then, may I ask, why a silencing charm was necessary for such a benign conversation?” Tom wet his lips. His throat was dry. “I thought it wise to avoid disturbing others in the library.” “I am awfully loud,” said Monty with a sage nod. “Ah. A noble intent. However, it is not an appropriate use of magic in the library,” said Dumbledore, his gaze firm as it bore down on Tom. “Ten points from Slytherin. I think it’d be wise to take your studies to your common room, Mr. Riddle.” “Yes, sir,” whispered Tom.

I only used "said Tom lightly" once in this section to show Tom attempting to be unaffected by Dumbledore's interference. I did not dialogue dump information in giant chunks. I did utilized actions tags versus adverbs, like Monty tilting his head or Tom licking his lips. I suspect that if JKR had written this scene, she'd have used lines like:

"No, sir," said Monty curiously.

"I thought it wise to avoid disturbing others in the library," said Tom nervously.

The adverbs that JKR's uses add nothing to her scenes. They're just thrown into them without a thought. Did she even reread this scene after she wrote it? I cringe in agony if I use an uncommon word more than three or four times in an entire 4,000 to 7,000 word chapter, let alone the same adverb five times in three pages. Good grief.

There are two other adverbs used in this page, hastily and bitterly. Hastily does nothing for the scene and is connected to another issue, but I'll go over that in the end. However, bitterly is one of the adverbs I'd keep. It gives us a glimpse into Harry's feelings here. We need more of this, but we got nothing.

Thus, the overuse of adverbs in JKR's dialogue detracts and steals so much from the scene.

Third point: there's too much dialogue and no description whatsoever. Again, the adverbs are a pathetic attempt to give us something, but they're thrown in there without a damn forethought. We're missing the crackle of the fire and the smell of it. We're missing Sirius' facial expressions. We're missing Harry moving around on the floor, fidgeting, yawning, rubbing his eyes, feeling the heat of the fire, bouncing his legs, picking at the rug, something, anything, etc.

The dialogue is bloated with a terribly boring conversation. It's just endless dialogue with nothing else. No, it's awful. Welcome to the fourth bullet point. This scene focuses on the entirely wrong point. This scene is 100% a plot device and it's terribly done as well. It's three pages about Karkaroff being a Death Eater--oh no he might be trying to kill you, Harry, aaaaaa--and something about Bertha Jorkins being near Voldemort's last location. Meh. Who cares. Somebody has been trying to kill Harry in every book thus far. This isn't a new development, sweetie.

We been done know this, okay? Come on.

This is a stilted, unnatural conversation between Harry and Sirius. It's not realistic. It's not normal. Telling Harry about the Karkaroff's past is boring and does nothing for him. One line, maybe two, for Sirius to say, "Hey, keep an eye out for Karkaroff. He's an old Death Eater." Done. End of Karkaroff information. And cut Bertha Jorkins out altogether. I'm sorry, but why the hell are we talking about a dead woman to a 14 year old kid whose biggest problem at the moment is dealing with a jealous friend, school ostracization, and a giant fire breathing lizard???

These points are important to the plot, but they're not important to Harry.

The plot isn't important. No, it's not.

Harry is the POV character.

Harry is the single most important aspect in every scene and should be treated as such.

The plot should weave around Harry, slowly revealing itself to both Harry and the reader. Harry should not be the weaver of the plot. He should not be used in plot devices.

Do you know what part of the conversation was summarized in the prose between Harry and Sirius in a single paragraph versus the three pages about Karkaroff?

Harry talking about how no one believes him about not putting his name in the Goblet of Fire. About the school hating him. About Ron, about his betrayal and his jealousy. About Rita Skeeter. About seeing the dragons as the first task. These are all important to Harry. These all are causing pain to Harry's heart right now. Somebody give this child a hug, please.

We missed out on exploring Harry's feelings here. The author skips the MOST important part of the conversation, what could've been a deeply emotional, either positive or negative, conversation between Harry and Sirius.

Oh, this scene could've been so good. It could've been amazing. There are so many paths that could've been explored here, too.

We could've had a callous Sirius, who doesn't notice Harry's state of being, and just goes on and on about nothing of importance where Harry clams up. Or we've could've had a comforting Sirius, who attempts to give Harry some actual advice about his friendship with Ron. We could've seen Harry opening up in his body language, connecting with this parental figure in his life. We could've heard a story of Sirius' time as a kid at school with Harry's father and the marauders.

We were robbed of an important moment between Harry and Sirius.

Instead, the author puts the focus on the red herring 'foreshadowing' of Karkaroff. What a waste. She's trying to put suspicion on him, rather than Moody/Barty Crouch Jr., the real Death Eater in disguise. Again, who cares. It's not about them. It's about Harry and how his experiences are affecting him. It's about how he reacts to them.

This scene is a waste of time and paper. It's empty of emotion and movement/flow. It's just there for a set up and it's glaringly obvious during a second read of the book.

When I say, "The writing is bloated and underwritten at the same time." this is what I mean. We're focusing on the wrong things here.

Fifth point. JKR breaks the POV character with the following line:

"--and reading between the lines of that Skeeter woman's article last month, Moody was attacked the night before he started at Hogwarts. Yes, I know she says it was another false alarm," Sirius said hastily, seeing Harry about to speak, "but...

Harry is the POV character. Sirius 'seeing Harry about to speak' should NOT be occurring in the prose whatsoever. To fix this with the bare minimum of effort for this poorly written dialogue line:

"--and reading between the lines of that Skeeter woman's article last month, Moody was attacked the night before he started at Hogwarts--" Harry opened his mouth to interject, but Sirius said hastily, "Yes, I know she says it was another false alarm, but..."

I wouldn't write these lines like this, by the way. I just don't want to rewrite this. It's a poor paragraph overall, but this is an example of returning the POV back to Harry. Sirius isn't 'seeing' anything anymore. Harry is doing an action and Sirius reacts to his action.

Breaking POV is a rule that can be occasionally broken, but should be done so with intent and purpose. I'm pretty confident when I say that JKR probably had no idea that this was a mistake on her part in the prose.

All right then.

We have come to an end of Part One in this series. We have dissected a single page and a single scene in JKR's Harry Potter and the Goblet of Fire. The page in question is 333 should you wish to look it up and study the scene yourself.

More to follow because I have lots of pages to go over. This will definitely be series, ah dear.

And so, please do the world the greatest of favors and write better than J.K. Rowling. I promise, it's not that hard once you see the differences.

Until next time.

Isa

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kelppsstuff · 3 months

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Hi. I really like your works, you amazing writer so i had this silly idea in my head for a while and wanted to request Adam x reader who is Lucifer's little sister. Like she is kind, patient, a little shy (blushes if you compliment her etc.) and very loving angel. She is very close to her brother and he loves her very much but after meeting Lilith they start to spend less and less time together. After finding out that her big brother "stole" first man's wife, she feels bad for Adam and wants to keep him company (after all, she knows that he is problably feels lonely just like she is). Two quickly become friends and eventually starts dating. She is afraid to tell Adam that she is Lucifer's sister thinking that he would hate her for it and abandons her (obviously he is not, but whrerever), but eventually he finds out thanks to Lucifer who is worried about his baby sister who spends too much time with Adam behind his back and confronts his sister boyfriend (I feel like he woud said something like : "Hey! Keep your hads off my sister!" "What?! Sister?!"

I teally hope this is not too much, again I so sorry if it is. If not in a mood for or its too much I understand. Don't push yourself too hard. You amazing writer! Take care!

“Say what now?”

Masterlist

Warnings: none

Taglist: @adamsfavoritesinner @fandomsbookclub @leathesimp @michellesn @sashaphantomhive @ladyninggs @sirenetheblogger

Adam x lucifer sister

—

You and Lucifer were the closest siblings that could ever be. For a while you didn’t think you two could ever be torn apart. However that changed.

From the dust of the Earth the first two humans were made. Adam and Lilith.

You saw the way your brother’s eyes lit up as he saw Lilith be created. You could practically see the hearts in his eyes.

It started small, Lucifer would go on and on about the first woman. Then he would miss your plan events together. Then soon he would completely ditch you for the woman he had grown to love.

Rumors of your brother new relationship had flown all around heaven. How he stole the first man wife. It had made you feel pity for Adam.

You had decided to just take a peek at what was really so special about these humans. That’s when you saw Adam petting a golden flying animal that had flown onto his hand. He was alone.

“I’ll call you a bird.”

You heard his voice and then you slightly understood Lucifer’s starstruck gaze as you shared the same one. Staring at Adam.

It had become a habit that you would often look after Adam. It wasn’t long until he had noticed.

—

“You can come out you know?” He was staring into the lake but he could feel your eyes. Watching him, always watching him.

You knew the gig was up as you sighed. You had thought you’d been more discreet. “I didn’t mean to intrude.” You spoke softly, embarrassed.

Adam felt heat running to his cheeks at your kind voice. The opposite of Lilith’s. You had inviting (E/C) eyes, and delectable lips.

“Who are you?” The only people or angels Adam had come across was Lilith and Sera. He heard of Lucifer, but he hadn’t even seen him.

“I’m (Y/N). An angel!” Adam head tilted. “I thought Sera was the angel to interact with me. Why are you following me?”

So many questions. Granted they were good ones. “I’m a guardian angel!” You rushed out panicking. You hadn’t want to tell him the true reason for your watchful eyes, that you were Lucifer’s sister.

“Oh okay.” So naive Adam was. So trusting of you, it had made you feel guilty.

—

You didn’t feel guilty enough to confess your relationship to Lucifer.

You would listen contently as Adam would complain about Lilith and her new spouse.

In the menace of talking Adam had two animals floating in the lake. “Look at those!” He pushed your head to the white and gold animals.

“A duck. That’s the gold one.” Adam had got to name all the animals. Every angel made one and Adam would name it. “Lucifer created that.” It had slipped out as you thought of your brother. Missing the times he would gush about his animal that had yet to be named.

“Whatever. That white one, what do you want to name it?” You looked to Adam quickly eyes widened. That was his job. “You know that’s against the rules.” You hushed out.

“Not entirely. You’re just giving me an idea that I’m taking.”

You looked back to the animal you had created. A smile forming on your face. You had never been given a choice. “A swan.”

Adam looked at you with a smile that made you melt and eyes that made you feel warm. That’s when you knew.

Why Lucifer ditched you.

Why he went after Lilith.

Why he would always talk about her.

Why he always wanted to be with her.

He loved her.

And as you looked at Adam you knew you loved him. Entirely. He was him and you love him.

—

Adam too had started to grow a crush on you. You were kind, listen to him, cared for him. You even had a bit of spitfire that Adam had grown fond of.

So when you confessed your feelings Adam had accepted them. He would say he loved you. Adam never really felt love, but he did deeply care for you.

The two of you had started to grow closer and closer and overtime, it be rare for you two to be apart.

—

Lucifer had went to check up on you only to find you gone. He immediately panicked. You never left without him.

He searched all of heaven. The only place left was the garden of Eden. He felt his chest tighten at the possibility that Adam would do something to you.

However what Lucifer saw was the complete opposite. There the two of you were laying down laughing with each other. That did nothing to stop Lucifer brotherly worry.

“Get the hell away from her!”

He had shouted and grabbed your arm, pulling you to him. Adam felt a slight sense of panic. A man was trying to take someone away from him — again.

“What the? Hey what’s the deal?!” Adam had questioned, voice filled with confusion.

“Keep your hands off my sister.” You felt fear lie in your stomach. Your brother had just told the man the secret you kept from him.

“Say what now?” Adam at first didn’t believe it. Not once did you mention a brother. You told him you had no siblings. “Who are you?”

“Lucifer. Lucifer Morningstar.”

You could feel tears prick your eyes. Adam looked at you with utter betrayal. He had been hurt -/ he had a right to be hurt — and you caused him that pain.

“Adam wait please let me explain.” You had begged. Adam only shook his head. “Don’t. Just go back to heaven.” Adam needed a moment. He needed to think.

He still cared for you. He still wanted to be with you, but how could he? What else have you been lying about? Did you actually love him?

—

Lucifer had dragged you back to heaven. Forbidding you to ever see him again. Adam was trouble according to him.

“You can’t keep me here! Away from him!”

Lucifer knew he couldn’t and fear struck. He went to Sera and proposed a new idea to her. Give Adam a new bride.

—

“Humans need population and if Adam and Lilith won’t, the surely a new woman couldn’t hurt?”

If Adam had a new bride he want nothing to do with you. Lucifer wouldn’t have to worry about your heart being crushed.

The sad truth however was that he had crushed his sisters heart.

He saw your heart break and immediately regretted his actions. He had caused his sister so much pain.

He heard you cry your heart out. Begging Sera to just let you have a chance with Adam. He remembers when he was the one — begging for Lilith — he remembered the relief of her saying yes. You had no such relief.

Lucifer watched as Sera said the final no. He watched as the joy, and love, the life drain from your eyes.

What had he done?

—

“Hey, I was wondering if you wanted to go out on a flight with me?” Lucifer had asked you.

You had loved your brother dearly, you couldn’t find it in you to say no to him. “Fine.”

You slugged out of bed and went on a flight all around the earth. The oceans water hitting your face. The air flowing your hair like crazy.

You had eventually flown over the garden. Like instinct you dropped to the trees. Returning to that old habit of yours.

You watched as Eve kissed Adam and Adam had kissed her back. Those lips that use to kiss you.

You turned away and Lucifer immediately hugged you. Knowing your pain. A pain he hadn’t wished upon you.

“It’ll be okay.”

—

When Lucifer reveled to be your brother, shock was the first emotion Adam felt. Then was the betrayal. Then the anger. Then the sadness.

He just couldn’t figure out why you would lie? Until one day a pebble hit him in the head (from a swan no less). You had lie in fear.

Why hadn’t he noticed it before? Obviously you lied cause you didn’t think he would still care for you. And he went ahead and made you think you were right. Of course he would always care for you.

He went over to the swan and started to pet it. Missing you. Wishing you were there with him.

He remembers when he let you name the creature. The look you gave him. The feeling he felt in his chest when you stared up at with pure adoration and love. Love. Love.

Holy shit he loves you.

A big smile flew onto his face as he hugged the swan. He loves you, and you love him back. You two would be okay. You just had to come back and see him.

—

Overtime you hadn’t came back and Adam cursed himself for sending you away.

A voice called out to him as he petted his swan. “Adam.” He looked up to the woman. He hadn’t recognized her at all. “Do I know you?”

“I’m your new bride, made from your rib.”

Adam felt horrified. No that was wrong. He wanted you to be his bride. He wanted you. He loved you. He couldn’t believe it. He wouldn’t.

“I think you got the wrong Adam lady.” He continued to pet his swan. “I’m spoke for.”

Sera flew down and backed Eve up. “She’s right Adam. Eve is to be your new bride.”

“But I love someone else!”

“You are forbidden to be with her.”

Adam felt tears of frustration come to his eyes. Tears of pure anger. “So Lilith can run off with Lucifer and I can’t be with his sister?!”

In the end Sera force was final. Eve is to be wedded to Adam and he couldn’t stop it.

—

“Ow, that swan just nipped me.” Eve spoke, hurt lacing her voice. Silently Adam praised the Swan.

Ironically the Swan hated when Eve would try and touch Adam. Adam never went anywhere without that swan as well. As you can see quite the problem in gave Eve.

It was one of those rare time the swan was with her lover rather than Adam. Eve took this opportunity. “You know we’ve yet to kiss.”

Good let’s keep it that way.

Adam silently thought. Though he knew eventually he would have too. Adam rolled his eyes and placed his lips on hers.

The kiss was meaningless. It lacked any emotion. And when he was done Adam walked away, rubbing his mouth. He only wanted you.

—

Lucifer knew you weren’t going to be truly happy without Adam. He expressed his concern to Lilith. She was the one who gave him the idea of the apple.

If they had free will, Adam could choose you.

So Lilith and Lucifer had offered Eve an apple. Eve ate the tasty fruit and begged Adam to try. Adam rolled his eyes and took the apple.

He looked to the swan as he took a bite, and suddenly he looked to Eve. Why was he with her.

He didn’t want to be with her. He wanted you, and he bloody well intends to have you.

—

The heavens were enraged with Lucifer’s acts, and the three humans temptations. The banished Adam and Eve.

You cried as you held onto Lucifer. You knew you couldn’t hold on forever, but if he left you truly would be alone.

“Please don’t leave me big brother. I love you so much.”

Lucifer too was crying as he told his sorries to you. He kissed your forehead and was banished from heaven, never to return.

—

You had became heartless.

When Adam joined you in heaven he was surprised by the void in your eyes.

For the first few years you had beloved Adam to be a fake. You couldn’t believe after all this time you weren’t alone anymore.

It took honestly centuries for you to fully open up to Adam.

“I miss my brother.” Your voice broke and Adam swore to you that you would see him again.

Adam didn’t care if he wasn’t fond of your brother, he would find away if it made you happy. And find away he did.

He saw an opportunity and took it. He suggest a yearly extermination.

So every year during the extermination and would give you a kiss as you flew off to be with you brother. And every year you’d cry when you had to go back.

However eventually with Charlie’s new Hazbin hotel you could cost more often.

Adam gave Charlie the go ahead as long as you specifically could go down there once a week to monitor it.

You were finally happy, and no longer alone as you helped Lucifer repair his relationship with Charlie.

—

Ahhhh, omg I really really hope you liked this, and thank you so much for saying those kind things!

#hazbin hotel #hazbin #masterlist #adam hazbin hotel #x reader #adam is actually hilarious #adam x reader #hazbin lucifer #lucifer

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thefearandnow · 11 months

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So with Oppenheimer coming out tomorrow, I feel a certain level of responsibility to share some important resources for people to understand more about the context of the Manhattan Project. Because for my family, it’s not just a piece of history but an ongoing struggle that’s colonized and irradiated generations of New Mexicans’ lives and altered our identity forever. Not only has the legacy of the Manhattan Project continued to harm and displace Indigenous and Hispanic people but it’s only getting bigger: Biden recently tasked the Los Alamos National Lab facility to create 30 more plutonium pits (the core of a nuclear warhead) by 2026. So this is a list of articles, podcasts and books to check out to hear the real stories of the local people living with this unique legacy that’s often overlooked.

This is simply the latest mainstream interest in the Oppenheimer story and it always ALWAYS silences the trauma of the brown people the US government took advantage of to make their death star. I might see the movie, I honestly might not. I’m not trying to judge anyone for seeing what I’m sure will be an entertaining piece of art. I just want y’all to leave the theater knowing that this story goes beyond what’s on the screen and touches real people’s lives: people whose whole families died of multiple cancers from radiation from the Trinity test, people who’s ancestral lands were poisoned, people who never came back from their job because of deadly work conditions. This is our story too.

The first and best place to learn more about this history and how to support those still resisting is to follow Tewa Women United. They’ve assembled an incredible list of resources from the people who’ve been fighting this fight the longest.

https://tewawomenunited.org/2023/07/oppenheimer-and-the-other-side-of-the-story

The writer Alicia Inez Guzman is currently writing a series about the nuclear industrial complex in New Mexico, its history and cultural impacts being felt today.

https://searchlightnm.org/my-nuclear-family/

https://searchlightnm.org/the-abcs-of-a-nuclear-education/

https://searchlightnm.org/plutonium-by-degrees/

Danielle Prokop at Source NM is an excellent reporter (and friend) who has been covering activists fighting for Downwinder status from the federal government. They’re hoping that the success of Oppenheimer will bring new attention to their cause.

https://sourcenm.com/2023/07/19/anger-hope-for-nm-downwinders/

https://sourcenm.com/2022/01/27/new-mexico-downwinders-demand-recognition-justice/

One often ignored side of the Manhattan Project story that’s personal for me is that the government illegally seized the land that the lab facilities eventually were built on. Before 1942, it was homesteading land for ranchers for more than 30 families (my grandpa’s side of the family was one). But when the location was decided, the government evicted the residents, bought their land for peanuts and used their cattle for target practice. Descendants of the homesteaders later sued and eventually did get compensated for their treatment (though many say it was far below what they were owed)

https://www.hcn.org/issues/175/5654

Myrriah Gomez is an incredible scholar in this field, working as a historian, cultural anthropologist and activist using a framework of “nuclear colonialism” to foreground the Manhattan Project. Her book Nuclear Nuevo Mexico is an amazing collection of oral stories and archival record that positions New Mexico’s era of nuclear colonialism in the context of its Spanish and American eras of colonialism. A must read for anyone who’s made it this far.

https://uapress.arizona.edu/book/nuclear-nuevo-mexico

There isn’t a ton of podcasts about this (yet 👀) but recently the Washington Post’s podcast Field Trip did an episode about White Sands National Monument. The story is a beautifully written and sound designed piece that spotlights the Downwinder activists and also a discovery of Indigenous living in the Trinity test area going back thousands of years. I was blown away by it.

https://www.washingtonpost.com/podcasts/field-trip/white-sands-national-park/

#oppenheimer #oppenheimer movie #barbenheimer #manhattan project #new mexico #los alamos #I never do posts like this #but I felt compelled #theres just so much like nuclear worship going on right now

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nimonabigbang · 5 months

Text

Nimona Big Bang Sign Ups Are Open!

Do you love the Nimona movie and/or graphic novel? Are you a writer who has always wanted fanart for a fic, or an artist looking for inspiration?

What's a Big Bang?

A Big Bang is a collaborative fandom event that results in an explosion of new fanwork. Writers are paired with artists, who create fanart for the new fanfic written for the Bang.

For the Nimona Big Bang, we're asking for a 5,000 word minimum for fanfics and two art pieces. Participants can take on up to two possible roles: writer, artist, beta reader (to help proofread draft fics), writer pinch hitter (in case a writer needs to drop out), or artist pinch hitter (in case an artist needs to drop out).

What's the schedule?

Sign ups for all roles opened on January 1, 2024. Writers need to sign up by March 1st, artists need to sign up by April 1st, and beta readers need to sign up by July 28th.

Writers need to provide fic summaries/200 word excerpts no later than April 20th so that artists can bid on them. Writers and artists will be paired by April 28th.

We will have several scheduled check-ins to make sure everyone's on track. If you feel like you need to drop out, please do so by July 15th so that we can try to find a replacement writer or artist for your partner.

Final fanfics and fanart will be revealed on September 14th.

The detailed schedule is here.

How do I sign up?

Please sign up using this form.

I'm not sure if I have enough time for this.

We understand that people are busy! The schedule was designed to be relatively relaxed and low pressure.

I'm not sure if my writing or art is good enough.

We're not gatekeeping! Beginners are welcome.

We also will have beta readers to help proofread for grammar, spelling, and clarity.

I'm having trouble coming up with a fic idea.

We're happy to help! If needed, we can provide prompts, AU ideas, etc.

I've never written a fic that's 5,000 words before.

This is an excellent excuse to give it a try in a supportive community! If you're used to writing shorter scenes, connecting enough of them will help get you there. :) (The 5 + 1 fic format might be a good fit if you have length concerns, but there are many ways to write a fanfic.)

What about...

More detailed information is in the Rules and Guidelines. We also have a Discord server.

If you can't find what you're looking for, feel free to send this blog an ask or message us! @random-nerd-posts and @zyrafowe-sny are helping run the event, with assistance from writer mod @knightofburgers, artist mod @toxix-st6, and beta reader mod @cameron7a.

We hope you sign up today and are looking forward to all the wonderful fic and fanart!

#nimona #nimona big bang #nimonabb #nimona movie #nimona webcomic #nimona graphic novel #nimona fanfic #nimona fanart #nimona fandom #signal boosts appreciated

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joaofelix70 · 6 months

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MISS DIPLOMAT & MR. CHARMING |

dominik szoboszlai x female reader.

author's note: this handsome man's living rent-free in my head. he's a freaking masterpiece. talented, funny, charismatic, attractive. i watched interviews, tiktok videos made by supporters and much more to understand a little bit of his language, personality and what he does towards friends and loved ones. laughed a lot! i made my homework as a writer, hope you enjoy it! (compliments and any kind of retributions are more than welcomed).

summary: your job is involving the commitment of unify the population and create interrelations to another countries, using the eurocup qualifiers and the hungary national team executions. you just didn't expect to fall in love with the no. 10's captain player.

words and characters: 1,811/11,223. it was three days working too hard on this story. i'm begging for your consideration, lol.

────

sports diplomacy: it's the unique power of sport to bring people, nations, and communities closer together via a shared love of physical pursuits. this responsibility is the reason of a transition between strangers to connected individuals, advancing foreign policy goals and augmenting sport for development initiatives. the complex landscape where sport, politics, and diplomacy overlap become clearer, as do the pitfalls of using sport as a tool for overcoming and mediating separation between people, nonstate actors, and states. the power of sport has never been more important. so far, the 21st century has been dominated by disintegration, introspection, and the retreat of the nation-state from the globalization agenda. in such an environment, scholars, students, and practitioners of international relations are beginning to rethink how sport might be used to tackle climate change, gender inequality, and the united nations sustainable development goals, for example. to boost these integrative, positive efforts is to focus on the means as well as the ends, that is, the diplomacy, plural networks, and processes involved in the role sport can play in tackling the monumental traditional and human security challenges of our time. credits: international studies association and oxford university press.

────

MLSZ (hungarian football federation) ──

new training ground at telki.

"i can't believe that being in places like this made up my most theoretically utopian childhood dreams. what a progress in front of me!" you still witness exciting moments where you pinch yourself, trying to believe in the reality that surrounds you: visiting the new training center of the players who are just a few meters away from you, getting ready to represent an entire country.

"your presence is our privilege. a voice of the spread of eurocup to our nation, right here…" the technical director gives you deference, obtaining a measure of humbleness and respect by you.

"the honor belongs to me in its entirety. grateful for having me, sir. while the view is immersive and captivating — my fervent congratulations to everyone involved — could we retreat from the pleasant glass-enclosed room and see everything closer, on the outside? please? i will never get used to this atmosphere." you pour politeness and charisma to the staffs around you, being directed to the proximity of the field and saluting the employees who pass through your path.

meet dominik — your szobo — instigates the nostalgic combination of detailed moments in which your thoughts display as photographic retrospectives. you're incapable to oppose the little enthusiastic laughs, fidgeting the rings between your fingers and avoiding possible suspicious glances from others. however, for you, this wouldn't actually work. the lives of you both are correlated, but different.

the training session is finished. clapping your hands and celebrating the performances, you greet the athletes and recognize some familiar people. nevertheless, reality slows down after those dark woody eyes capture through your soul. his arms tattoos are glorified by the sun's rays, the same illuminated smile is offered to you: that one you got during the very first time you saw him — instantly knowing he made you testimony the accuracy of freedom, catharsis and emotional amorous complement. that he'd be the one to introduce you what you never experienced, what you thought you'd never receive or deserve. what love truly is. when you were novices in your actual professions, not even imagining the future gifts of your unreal purposes.

"there you are!" intimately, dominik points at you, being reciprocated by vibrant nods and your old sort of secret — not that mysterious or serious — handshake. "még mindig emlékszel rá? (still remembering it?). you're a real one!"

"hogy tudnám elfelejteni? alábecsülsz engem. (how could i forget it? you're underestimating me)". your defensive actions demonstrate purposeful falseness. masking any sensitive, verbal or figurative communicative fragment from him is a difficulty that makes you give in over time. honestly, you never complain about this. it's like he wants to understand the factors and layers of you.

"a te kézfogás fickó. ne merészelj lecserélni engem. (your handshake man… don't you dare to replace me)". a shameless wink is send to you, butterflies acquiring space in your stomach.

"és hivatalosan is a szavamat adom rá. (and you officially have my word on it)." your gloss is pigmented against your fingers while you raise it up, displaying an oath, wondering if szoboszlai comprehends that his replacement in your life would be blasphemous.

"diplomata kisasszony, (miss diplomat)…" the hungarian fingerprints are shared and you recognize the sign to hold them, ready to perform your typical fashion icon moment. "gorgeous as always. go ahead! you know what to do!".

amusement surrounds you with the nickname's citation. although, you could feel some curious glances, from the outsiders, about the intimacy between you and him. "i appreciate, our top-class national bless…" you move your body in rotations to exclaim the outfit's characteristics, lifting your feet to show off the specificities of your heels. "how is your hair so well-groomed after sweating, though?" your arms cross and you raise an eyebrow in questioning, trying to hide your fascination.

"thank you, my number-one fan, but don't change the subject. finish our inside joke, c'mon!" dominik grabs his water bottle and spreads the cooling liquid on his forehead, wiping the glowing droplets across his face as he lifted his jersey high enough to exhibits his fortified abs.

your attention is directed to any surrounding scenery, throat being piked. szoboszlai pretends he doesn't notice, preventing to embarrass you.

"alright, alright! you've won, bájos úr… (mr. charming)". your final comment escapes as, practically, a whisper. you can't control the shy laughter, coupled with the considerable redness invading your cheeks.

"that's the secret to make my day!" using his tongue to reproduce a sharp noise, he matches your humorous reactions. "would you like me to show you the infrastructure changes? i'm just gonna take a shower!"

"i've already been granted a tour around here, but in case you insist…" during the dialogue, some athletes cross your space, wishing them good luck for the competition. your concentration on the activity is significant, at the point that dominik's silent admiration goes unnoticed.

"i mean, you know me! i'm gonna insist anyway, so…" he reaches your captivity, bringing you jollification.

"i'll rate you as a personal tour guide. now, go there!" jesting each other, you both exchange exaggerated reverences, like a challenge of who makes the most chaotic one.

────

walking around the area, various subjects are explored, informations entrusted. you ask and are updated about his ethereal younger sister.

portraits of the generations are framed. you magnifies his presence in celebratory pictures, dedicated to find him in the memories and achievements on that wall. pride shines from you and the hungarian finds it lovely.

"you know i'm a sucker for accents… they're much more than mere verbal characteristics, they're stories: life experiences, marks and scars. identities and cultural integrations." the topic is random. through generalized opinions, you're explaining conceptions and dominik is retaining mental observations. he exalts every scrap of your identity, like a faithful worshiper.

"basically, you're admitting being enchanted by my accent. i can see the stars in your eyes. a win is a win!" szoboszlai and his frequent attribute to physical touch, tickling your ears and playing with them. it doesn't bother you, actually: adoring the affection exuded by you and him. you feel like a little girl dealing with your one and only love.

"it's beautiful, how can you blame me? and hey, i know mine's making you grin too." he holds your arm, shivers running down your spine, the two of you being euphoric in the midst of your own enthusiasm.

"putting me against the wall? okay, hum… what were you saying before?" he's changing the subject and you have a natural wit to boo him. lifting his shoulders as a surrender, the hungarian focuses on the specific loose strands of his simple bracelet, which you get used to help him tie it again, willingly.

"trying to avoid the truth? fine! let me take care of you while i talk about my admiration towards globalization and communication. like, with every fiber of me…" you accept the conversation's direction and utter a 'voilà' towards the accessory's new appearance.

"that's why you're the best person i've ever seen doing this job." dominik compliments you, an act full of honesty.

"thanks a lot, mate. but which job? as your bracelet helper or my real one?" you provide tenderness, looking amused.

"i mean… both of them." szoboszlai chuckles, revealing courtesy by your continuous helpfulness.

"literally? because i know you know a lot of people. you're so young and already is the national team's captain." you nudge him in a form of tease. he's a starboy, it's undeniable.

"flattered! literally, thought. you were born for this, believe me." vulnerability collides to you, as his words are deliberated: emotions embracing you and warming your insides.

"dominik szoboszlai, my dear friend, you're gonna make me cry, right here. i'm sorry, i need to do it…"

innocent satisfaction builds strength over you and executes unthought-of approach to the tangibility of your gratitude — his colony enrapturing your sensitive olfaction — in the most out-of-control way. the sounds reach your hearing: a choir of angels singing hallelujah. he reciprocates the contact, laughing at your juvenile excitement. joining him and doing the same thing, harmonizing the triumph. in the separation of the touch, you both remain close to each other and the hungarian doesn't miss the opportunity to feel the softness of your side face, caressing the skin. appreciation and satisfaction invade your structure, delighting on the palm of his hand.

"just a dear friend? why are we pretending all this time?" dominik's reading you. the intimidation at the sight of him overhanging you is paralyzing. you don't usually back down, but in that instant — superior than your most repressed desires — your gasps are escaped.

"who is putting who against the wall now?" insisting and failing on your witty answers, shyness and uncertainty corrodes you.

"please, look at me! i'm not kidding anymore." his voice is questioning, intrigued — contradictorily vulnerable and calm — your rationality being fragmented, fragile.

"you know i'm not the kind of woman you're surrounding by, domi. i'm not an influencer, bikini model. i'm not a public figure. i don't live for the cameras and gossip platforms. i live to work hard. i didn't achieve any of this with some type of perk. my routine and your routine are based on traveling..." who could deny it? szoboszlai's always been all that you see. it's much more than a mere passion. your attraction to him is magnetic, intense, vivid. consequently, terrifying.

"i'm just asking for a chance, (your nickname). i don't lie when i say i've never met someone like you. i may be surrounded by a crowd and you'll still be the one to steal my attention, because nobody compares to you."

your eyelids are closed and the exhalation of his sigh penetrates your lungs with the numbing breath of life you've never experienced before. it's happening: the rare situation where thinking carefully about the pros and cons is unworthy, dumbness. your decision is made and the privilege's resolution unify your lips. the beginning demonstrates slowness and patience — the intensification through the concluded wait of the longed-for reality, transforming light and magical kisses into open mouths discovering each other and witnessing the endearment that both offer — hairs, necks, shoulders and waists captured.

"you're the first to create a meaningful presence in my mind and heart. i want you to be the last one too. i love you, kincs (my treasure). i'm finally brave enough to demonstrate it with no fears." dominik's forearm covers your upper torso. your back against his chest, noses resting on each others. rejoicing at the miraculous, incomparable circumstance.

"i love you, drágám (my precious). you're finally mine and it was so fucking worth waiting." his whisper: the living proof of celestial existence.

"how blessed we are…" intertwined bodies, coalesced essences. solitary melodies turning into the sweetest and most complete symphony.

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shanastoryteller · 10 months

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Happy pride! Can I request god!percy or dealers choice

Aziraphale is a hostage and he doesn't even know it.

There must always be a Supreme Archangel in Heaven.

The Ineffable Plan is shit and it was shit from the start and Crowley doesn't feel a lick of guilt in the part he played in destroying it. Humanity deserved a fighting chance, after all, and they'd made good on it - Adam, a boy after his own heart, had made the choice to save them all.

Crowley had not created the universe only to watch Her destroy it. That was always Her problem, really. Great big ideas and piss poor execution. Which is why She'd give him a long list of impossible ridiculous things and he would work out how to make that make sense in a world where sense is a thing that had to be made.

Eden was a trial run, one of many. Making people in Her own image was proving difficult, because She didn't know what She looked like and had always been resistant to hearing Herself described.

She'd made Adam in the angel's image, and Eve, and it looked like She'd finally made a successful prototype.

Then they'd fought over what was to be made of Earth, of the people, of all the things he'd made in the vastness of space. If there's no people to tilt their heads back and look at it, what's the point of making it? If galaxies exist, but they evoke no wonder, are they even there?

He had decided to make things difficult. He had decided that if humanity was going to go toe to well, metaphorical toe with Her, then they needed an edge.

They needed Knowledge.

His sentencing had been swift and unanimous and he wasn't going to be a 38th level recording angel scrivener, thank you very much. They'd talked and talked about how terrible the PR would be, over another prince of Heaven falling to Hell, and how difficult he was making everything and how extremely bitter they were that he, as a writer in the Book of Life, could not be erased from it without also erasing everything he'd done, which was rather a lot. Pages eleven to three million six hundred and two, to be exact.

So he had not fallen, precisely, so much as sauntered vaguely downwards.

Which he felt was rather obvious, and yet no one seemed to notice, the same way he was able to march back into Heaven with a clothing change. He was impossible, and so he could not exist, and so he did not.

He had wings and he could perform miracles indistinguishable from an angel's and yet no one ever suspected a thing.

He'd though that maybe he would be made when he walked onto holy ground to bail out Aziraphale, but luckily angels don't often seen demons walking into churches. Usually because that's about when they catch fire.

Which suited him just fine, actually. It had all worked out, more or less, until now.

Saraqael had not forgotten him and didn't even try and tell him off for walking right into Heaven. Michael and Uriel's silence had been odder, but he'd had more important things to focus on at the time.

Now he understands why.

They want a new Plan and She isn't giving them one.

The Metatron knows there is one angel who worked alongside Her in the universe's creation. One angel who successfully interfered in Her plans and knocked things astray. One angel who's hands rested besides Hers on the Book of Life.

They don't want Aziraphale to lead.

They want the Archangel Raphael back in his rightful place, the Supreme Archangel, and they want him to once more muck about in Her plans and give them the war they're craving.

And they know going through Aziraphale is their only chance, the one person that could tempt Crowley into taking up his old name and his old mantel and stepping foot once more in blasted Heaven with his halo around his head rather than tattooed along his face.

They have Aziraphale.

Now Crowley can only wait and hope that he figures out the truth in time, before he's forced to defy Aziraphale like he once defied Her.

#finally got around to watching good omens season 2 and i have big feelings #prompt answers #prompts are closed #asks #drwho-ess #good omens

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hayatheauthor · 1 year

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Forging Epic Battles: Techniques for Writing Gripping War Scenes

I want to start this post off with sort of an author's note: this is a long one! I tried to keep my detailing to a minimum but I guess this topic Is just so vast I couldn't help but pour it all out. This really is sort of an ultimate guide and I hope it helps! Also, it was requested by @xweirdo101x (if you want to request something just send me an ask)

War has long captivated readers' imaginations, evoking a sense of grandeur, sacrifice, and the clash of ideologies. As writers, we have the power to transport our readers to the frontlines, immersing them in the chaos, drama, and emotion of epic battles.

Crafting gripping war scenes requires a delicate balance of research, skillful storytelling, and an understanding of the human experience in times of conflict. In this guide, I will explore various techniques that will help you create dynamic and compelling war narratives, transporting your readers to the heart of the action and leaving them breathless.

Setting the Stage: Creating a Compelling War Setting

When it comes to writing gripping war scenes, creating a vivid and immersive setting is paramount. Whether you are crafting a historical war or inventing a fictional conflict, the setting serves as the backdrop against which your characters and their stories unfold. Here are essential steps to help you create a compelling war setting that captures readers' imaginations:

Research Historical Context or Build a Fictional World:

For historical wars, immerse yourself in research to understand the time period, social dynamics, and political climate surrounding the conflict. This knowledge will lend authenticity and depth to your narrative.

If you're building a fictional world, establish the rules, geography, and cultural aspects that shape the war. Consider the unique elements that set your world apart and make it feel real to readers.

Describe the Physical Environment and Atmosphere:

Depict the landscape, whether it's a war-torn city, a rugged battlefield, or a desolate wasteland. Pay attention to sensory details—sights, sounds, smells—to transport readers into the heart of the war.

Convey the atmosphere of the setting, capturing the tension, fear, or anticipation that hangs in the air. Is it shrouded in darkness and despair, or does a glimmer of hope persist? Use descriptive language to evoke the desired emotional response.

Incorporate Cultural and Societal Elements:

Explore how the war has affected the culture and society within your setting. Are there new traditions, rituals, or customs that have emerged in response to the conflict?

Consider the social dynamics at play—class divisions, power struggles, or the impact of war on marginalized groups. These elements add layers of complexity to your setting and provide opportunities for conflict and character development.

By carefully constructing your war setting, you transport readers into a world brimming with authenticity and intrigue. Whether it's the trenches of World War I, a futuristic intergalactic battle, or a mythical realm engulfed in strife, the setting sets the stage for compelling storytelling.

Building Conflict and Tension

In the realm of war fiction, conflict and tension are the driving forces that propel your narrative forward and keep readers captivated. From the clash of opposing ideologies to the internal struggles within characters, here are essential techniques for building conflict and tension in your war scenes:

Establish Clear Goals and Stakes for Characters:

Define the objectives and desires of your main characters within the war. What are they fighting for? What personal or collective goals are at stake?

Create conflicts of interest between characters, where their motivations and objectives may diverge, leading to tension-filled interactions and confrontations.

Introduce Opposing Forces and Ideologies:

Develop compelling adversaries that challenge your protagonists. These opposing forces may represent different sides of the conflict, ideologies, or even personal vendettas.

Explore the contrasting beliefs, values, and philosophies driving each side, heightening the ideological clash and intensifying the conflict.

Utilize Internal Conflicts within Characters:

Explore the internal struggles and moral dilemmas faced by your characters. How does the war affect their beliefs, principles, and sense of self?

Delve into the emotional turmoil and psychological toll of war, showcasing the internal battles characters face as they navigate the chaos and make difficult choices.

By effectively building conflict and tension, you create a dynamic and engaging narrative that keeps readers invested in your war story. The clash of goals, the ideological friction, and the internal struggles of your characters add layers of complexity and depth to your storytelling, drawing readers deeper into the heart of the conflict.

Developing Dynamic Characters

In the realm of war fiction, dynamic and well-developed characters are essential to breathe life into your narrative and create an emotional connection with readers. By crafting relatable protagonists and antagonists, you elevate the impact of your war story. Here are key considerations and techniques for developing dynamic characters within the context of war:

Crafting Relatable Protagonists:

Give your main characters depth and complexity by exploring their backgrounds, motivations, and personal histories. What drives them to participate in the war? What are their hopes, fears, and vulnerabilities?

Develop relatable goals and desires for your protagonists that resonate with readers. Show how the war impacts their lives and pushes them to grow, change, or make difficult decisions.

Creating Compelling Antagonists:

Craft antagonists who are more than just one-dimensional villains. Give them their own motivations, beliefs, and reasons for engaging in the war. This adds depth and complexity to their characters, creating a sense of empathy or understanding.

Explore the potential for redemption or transformation within your antagonists. Are they driven by misguided ideals, personal vendettas, or the pressures of their circumstances? Allow their development to challenge readers' perspectives.

Conveying the Psychological Impact of War:

Explore the emotional and psychological toll that war takes on your characters. Depict their fears, traumas, and inner conflicts as they grapple with the horrors and realities of the battlefield.

Show the evolution of their beliefs and perspectives as they confront the brutalities of war. Allow their experiences to shape their character arcs, highlighting the resilience, resilience, and vulnerabilities that emerge in the face of adversity.

By developing dynamic characters in your war narrative, you create a multi-dimensional and emotionally resonant story. Readers will become invested in their journeys, experiencing the triumphs, losses, and personal transformations that unfold throughout the war.

Writing Action-Packed Battle Scenes

Action-packed battle scenes are the heart of war fiction, where the intensity and stakes are at their highest. These scenes immerse readers in the chaos, danger, and adrenaline of the conflict. To craft gripping battle scenes, consider the following techniques:

Structuring Battle Sequences for Maximum Impact:

Begin with a clear sense of purpose for the battle scene. What are the objectives? What is at stake? Establish the goals and set the stage for the conflict.

Build tension gradually, starting with smaller skirmishes or encounters that escalate toward the climactic moments. Consider pacing, alternating moments of heightened action with moments of respite for emotional impact.

Balancing Fast-Paced Action and Descriptive Details:

Use concise and vivid language to convey the fast-paced nature of battle. Focus on capturing the essence of the action, highlighting key movements, and sensory details that immerse readers in the experience.

Strike a balance between brevity and providing enough detail to engage the reader's imagination. Avoid overwhelming readers with excessive description, ensuring that every word serves a purpose and contributes to the overall impact.

Using Sensory Language to Immerse Readers:

Engage multiple senses to transport readers into the battle scene. Describe the sights, sounds, smells, and tactile sensations to evoke a visceral experience.

Leverage sensory details to enhance the emotional impact of the battle, capturing the fear, adrenaline, and urgency felt by characters and evoking a similar response in readers.

Good action-packed battle scenes bring the war to life on the page, immersing readers in the heart-pounding action. Remember to focus not only on the physical aspects of combat but also on the emotional and psychological experiences of your characters.

Conveying Emotional Resonance

In war fiction, it is crucial to convey the emotional impact of the conflict on both individual characters and the larger society. By tapping into the raw emotions experienced during times of war, you can create a profound connection with your readers. Here are key techniques for conveying emotional resonance in your war narrative:

Show the Human Cost of War:

Portray the personal sacrifices, losses, and tragedies that characters endure in the face of war. Highlight the emotional toll on their relationships, families, and communities.

Explore the range of emotions experienced by characters, such as fear, grief, anger, and resilience. Through their struggles, allow readers to empathize with the profound impact of war on the human psyche.

Engage the Senses to Evoke Emotion:

Utilize sensory language to evoke emotions within readers. Describe the sights, sounds, smells, and tactile sensations associated with war to create a vivid and immersive experience.

Connect specific sensory details to the emotions they evoke. For example, the acrid stench of smoke may elicit a sense of danger or the distant cries of anguish may stir feelings of sorrow.

Develop Authentic and Complex Relationships:

Showcase the bonds formed and tested amidst the chaos of war. Explore friendships, romances, and the camaraderie among soldiers to highlight the connections that sustain characters in the face of adversity.

Depict the conflicts and tensions that arise within relationships due to the strain of war. This adds layers of emotional complexity and authenticity to your narrative.

By effectively conveying emotional resonance, you invite readers to experience the human side of war. They will connect with the characters on a deeper level and become emotionally invested in their journeys.

Navigating Moral and Ethical Dilemmas

War is often accompanied by moral and ethical dilemmas that test the values and principles of individuals and societies. As a war fiction writer, it is important to explore these complexities and shed light on the difficult choices characters face. Here are key considerations for navigating moral and ethical dilemmas in your war narrative:

Present Conflicting Perspectives:

Introduce characters with differing moral viewpoints and beliefs. Show the diversity of perspectives within the war, whether it's among the protagonists, antagonists, or the larger society.

Challenge readers to contemplate the gray areas of morality and the complexities of right and wrong by presenting conflicting viewpoints and the reasons behind them.

Highlight the Consequences of Choices:

Illustrate the consequences of characters' actions and decisions. Showcase how their choices ripple through the narrative, affecting themselves and those around them.

Explore the moral dilemmas characters face, such as choosing between duty and personal convictions, sacrificing the few for the many, or grappling with the aftermath of their actions.

Offer Reflection and Discussion:

Provide opportunities for characters to reflect on their choices, engaging in internal dialogue or discussions with others. This allows readers to contemplate the moral implications alongside the characters.

Invite readers to reflect on their own moral compass and engage in discussions surrounding the ethical dimensions raised in your war narrative.

Navigating moral and ethical dilemmas makes your war fiction go beyond the surface-level action and delve into the deeper questions of humanity. It prompts readers to question their own values, moral boundaries, and the intricate web of choices that arise in times of conflict.

Research and Authenticity in War Fiction

For war fiction to have a lasting impact, it is crucial to conduct thorough research and strive for authenticity in your narrative. By grounding your story in accurate details and historical context, you enhance its credibility and immerse readers in the world of war. Here are key considerations for incorporating research and authenticity in your war fiction:

Study Historical Events and Settings:

Research the historical events, conflicts, and time periods that serve as the backdrop for your war narrative. Gain a comprehensive understanding of the context, including the political, social, and cultural factors that influenced the war.

Dive into the specifics of battle strategies, weaponry, and tactics employed during the time period. This knowledge will help you create authentic and realistic war scenes.

Explore Personal Accounts and Memoirs:

Read personal accounts, memoirs, and interviews of individuals who have experienced war firsthand. These sources provide invaluable insights into the emotions, challenges, and nuances of the human experience during wartime.

Pay attention to the details of daily life, the physical and psychological tolls, and the individual stories of courage, sacrifice, and resilience. Incorporate these elements into your narrative to add depth and authenticity.

Consult Experts and Military Advisers:

Seek guidance from military advisers, historians, or experts in the field to ensure accuracy in depicting military operations, protocols, and terminology.

Engage in conversations or interviews with individuals who have expertise in areas relevant to your story, such as veterans, soldiers, or scholars. Their perspectives can offer valuable insights and help you portray the realities of war with authenticity.

Strive for Emotional Truth:

While research and accuracy are crucial, remember that emotional truth is equally important. Balance historical accuracy with the emotional resonance of your characters and their experiences.

Capture the human aspects of war, such as the impact on relationships, the psychological trauma, and the bonds forged in the face of adversity. Connect readers to the emotional core of your story.

By incorporating thorough research and striving for authenticity, you create a rich and immersive war narrative that resonates with readers. The combination of accurate historical details, personal accounts, and emotional depth brings your story to life.

War fiction is a genre that holds immense power to captivate readers, evoke emotions, and shed light on the complexities of human nature during times of conflict. Through the techniques and considerations I have explored in this guide, you have the tools to craft compelling war narratives that resonate with authenticity and engage your readers on a profound level.

I hope this blog on forging epic battles will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday

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