#emma monologue

[diosa-loba]

"i think i was falling in love with the idea of violet and sam. because they were at that time in their life when everything was so neat. and the highs were like so fucking high, you know. and who doesn't want to go back to that time of their first love. to be young and dumb [...]. i just think that's why we love titanic and romeo & juliet so much. but then we forget how fucking low the lows are. romeo & juliet die...titanic sinks. the highs are never as high again, but the lows just keep getting lower." - emma

[harmonizingsunsets]

Running Gags in Hatchetfield Musicals pt 10 | Fake Musicals within a Musical

[fullscoreshenanigans]

Ray TPN

KLJDFKLVDK HIM THOUGH??

(S1 Episode 6 | Chapter 181.1 | Chapter 93 | Chapter 119 | banana_slug_army's A Bizarre Proposal | 2020 Exhibition Interview)

[titsthedamnseason]

i keep saying it but that first chapter teaser of the wicked powers was life changing. i hate to say it but cc’s writing still does it for me she will always drag me back in and dru, kit, and ty have potential to be some of her best main character work ever.

[emmatriarchy]

Scene from canon from Emma's perspective: tricking Cassandra Nova into Stuff's body.

The situation was dire - to say the least. Present at Westchester despite her better judgment, Emma watched from a safe distance the situation with Cassandra unfold. Her only concern were the girls. Her girls. Made from her ova without her knowledge, the five girls stirred something inside of the cold White Queen.

An instinct even the Hellions didn't manage to fully awaken in her. The seeds of her caring for the children was there from the moment she started teaching her dear Hellions, however they had been students and not her actual children. She felt similarly towards the students Sean and herself taught together.

The Cuckoos. She missed years of the girls' lives, and she intended to not miss another minute. The growing threat to the school was a headache she could do without.

When she was presented with Stuff - and scanned its primitive, wired for learning brain - a plan started to form in the darkest, deepest recesses of her mind. Could not risk the Mummudrai occupying the brain of Charles catching a stray thought from the highly guarded White Queen, so she locked the plan in the mental safe with her most protected memories.

A few stern words of warning to the girls (stay out of trouble, if I don't come back, do not come for me or any of the other teachers) and she set off to present Stuff to Cassandra's genetic material so it could take her shape, mimic her cells perfectly.

The safe of her mind got reinforced when she turned into her diamond form. She couldn't feel emotions but she should not be vulnerable to psychic attacks in this form. Furthermore, her diamond form was stronger than her flesh-and-bones form, and she could argue, if asked, that carrying a grown woman was easier without muscle fatigue. A likely excuse for her use of her secondary mutation.

Arguing with Cassandra, presenting her with honeyed lies that the parasite wanted to believe, and ultimately tricking her was easier than Emma anticipated.

People saw Emma through the lens of the past - even though she had started her uphill battle against her own selfish instincts years before right after the Hellions were annihilated by Fitzroy - and not through her actions of the present.

She expected that and played with it. Pretending to betray her new associates was easy when they already expected her to. It stung her ego and spat in the face of all her efforts, but she focused on the usefulness of Hank's reaction in selling her lies to the bald cunt.

Hopefully what came next would help the X-Men see beyond their own prejudices and biases. It would be the least they could do as people actively fighting against the prejudices mutantkind faced every day.

Cassandra's essence slipped into the body in her arm, and she sighed a breath of relief. A split second of vertigo, which Emma dismissed as a sign of the pressure and anxiety easing up (little did she know that Cassandra used that split second to implant fake memories of Genosha into her brain, the conniving cur) and she set the body of Stuff, now trapping Cassandra, down onto the first available surface.

Charles stepped on his own two legs - and Emma lost all interest in the situation. Her girls were safe. She protected the children. Diamond turned to flesh, and high, expensive heels clicked on the hard floors as she walked away. Let Jean and Charles deal with the aftermath, she did what she set out to do.

She didn't care if anyone called out after her. She was going to see her girls, and reassure them that the coast was now clear. The ghost of a smile floated on her lips - she may be mother material after all. If only she could find someone (Scott?) who would let her in, and make her want to settle. But those were idle thoughts better explored at a later time.

[lavender-gayz]

why is it always 'what the fuck now lizzie?' and 'why didn't you destroy the dress lizzie?' how about 'did you have fun with the axe lizzie? it looked like you had fun'

[marvelmaniac715]

Chapters: 1/1 Fandom: Hatchetfield Universe - Team StarKid Rating: General Audiences Warnings: Creator Chose Not To Use Archive Warnings Relationships: Paul Matthews/Emma Perkins Characters: Paul Matthews, Emma Perkins, Pokey | Pokotho Additional Tags: Internal Monologue, Dialogue, Light Angst, Angst, Post-Apotheosis (The Guy Who Didn't Like Musicals), Post-Canon Summary:

Paul tries to talk to Emma, one last time - entirely in verse (think of it almost as a song).

[biblicalhorror]

All this talk about rpf but did I ever tell you guys about the time in high school a guy I was friends with published his own rpf on wattpad and then shared it on Facebook and the story consisted of his self-insert being in love with the character he'd clearly written to be me and then my character rejected him and his character ended up in a mental hospital taking anti psychotic meds to numb the pain 😔

[volcanicmudbubbles]

Miss Bates said that Mr Knightley said that William Larkins let him keep more apples than usual this year, so he offered the Bates household some of his extra (since Jane likes them so much);

But when William Larkins brought them by, he told Patty that actually this was the remaining Donwell stash of apples, and Mrs Hodges was upset at giving them away because she wouldn’t be able to serve apple tart again until fall — but William Larkins told Patty not to repeat that because Mrs Hodges is always upset about something — and anyway it shows how good Donwell is at selling all its harvest.

Miss Bates did understand that neither William Larkins nor Patty wanted that information shared because it would embarrass Jane —

“but, unluckily, I had mentioned it [to Jane] before I was aware.”

[taleofnine]

watched the ending of Wolf’s Rain for old time’s sake and inadvertently sobbed through the entirety of it

[nthflower]

Okay immoral X-Men was really good thank you life thank you world.

And also I saw criticism of Gillen as he is not great at writing woman but I disagree his writing of Emma is amazing to me. Like he gets it in a way I want. Her insecurity about her specialness and her seeing herself as self made queen but still have doubts trying to prove it to herself subtly, her approach to omega mutants or exclusive clubs or "hope's novelty" being a little "why not me" type but she can't say it loud.

Idk I love when Emma is like that. A really powerful woman with strong unbreakable personality but it's all because to protect herself her image in her own unhealthy standards. She doesn't think about what others think of herself. But still this standards created by system and society she lives in.

And her inner monotone inside of head she is still not saying quite part loud. Even when no-one is listening. She is still insecure and feel inferior but she is not saying to herself and trying to prove it. She maybe knows maybe not self aware but I choose to believe she knows.

How hard she makes her personality unbreakable that hard she makes what she protects fragile and hurtable. Her own feelings and personality and soul and mental health and herself. She categories everyone as superior and inferior and applies this first in a hardest way to herself instead of accepting there is no ranking in life.

This is also relatable to me actually and something I worked a lot with my therapist to overcome and understand so maybe I am a little bit projecting. I am a lot of projecting. Sorry I love Emma.

[420angelica]

winter depression going even worse than last year😆🖕

[llaw-eurog]

The finale worked for me 🤷🏻‍♀️

[journeytojaburo]

Emma's smirk here is making me laugh

[everythingilearned]

Pearl (2022)

[imastoryteller]

Write Like a Director: Crafting a Cinematic Novel (With Examples)

Writing a novel like a movie means propelling your reader through scenes with relentless momentum, slashing through fluff, and ensuring each word drives the plot forward. Trust your readers to connect the dots through dialogue and action, immersing them in vivid, immediate experiences without drowning them in verbose descriptions. Every chapter should feel like a high-octane scene, keeping readers on the edge of their seats, hungry for the next twist, the next revelation. Keep it tight, keep it thrilling. Here are some examples to illustrate each aspect of this dynamic storytelling approach:

Fast Pacing

Chase Through the Alley: Jake sprinted down the narrow alley, the thud of heavy boots echoing behind him. A sharp left, then a right—no time to think, just run. This example thrusts the reader directly into a high-speed chase, emphasizing immediate action and urgency.

Heist in Progress: The vault door creaked open. "Thirty seconds," Maria whispered, stuffing bonds into her bag. The alarm blared. "Move!" The scene conveys a sense of time running out and rapid movement, maintaining a brisk pace with no room for delays.

Dynamic, Fast-Going Plot

Kidnapping Twist: Laura opened her front door to find an empty stroller on her porch. A note inside read: "If you want to see her again, come alone." The unexpected discovery of a kidnapping sets up an immediate and compelling conflict, driving the plot forward swiftly.

Escape Plan: The prison lights flickered. "Now!" whispered Tom. They climbed through the hole, hearing guards’ shouts in the distance. The urgent breakout from prison keeps the plot dynamic and intense, with characters constantly on the move.

Show, Don't Tell

Fight in the Ring: Blood trickled down Max’s face. He clenched his fists, dodged a punch, and delivered a powerful uppercut that sent his opponent to the mat. The physicality and immediate consequences of the fight are shown through actions rather than explained through exposition.

Silent Farewell: Tears streamed down Lily’s cheeks as she handed Jack the letter. Without a word, he turned and walked away, his shoulders slumped. The emotional impact of the farewell is conveyed through the characters' actions and expressions, not through internal monologue or narrative explanation.

No Tedious Descriptions

Quick Change: Sam grabbed the nearest shirt and jeans, pulling them on as he ran out the door, glancing at the clock—he had five minutes to reach the station. The scene moves quickly from one action to the next, providing only essential details to maintain momentum.

Sudden Revelation: In the dim light, Sophie saw the glint of a ring on the thief’s finger. Her father's ring. She gasped, stepping back. The revelation is made through a brief visual detail, keeping the description succinct and impactful.

No Infodump

Mid-Battle Realization: Amidst the chaos, Sarah recognized the tattoo on the enemy soldier’s arm. Her brother. She hesitated, the war raging around her. The revelation about the brother is integrated into the action, avoiding lengthy explanations and keeping the focus on the immediate situation.

Urgent Discovery: Ethan flipped through the ancient book, stopping at a page with a familiar symbol. "It's the same as the pendant," he muttered, pocketing the book and running out. The discovery is brief and directly tied to the plot's urgency, with no extensive background information provided.

Avoid Fluff

Straight to Action: Ben didn’t bother with pleasantries. “We’re out of time,” he said, throwing the bag into the car. “Get in.” The scene cuts straight to the critical moment, avoiding unnecessary dialogue or description.

No Idle Chatter: Emma answered the phone, cutting off the caller's introduction. “What’s the plan?” she demanded, glancing at the clock. The character immediately seeks vital information, eliminating small talk and focusing on the plot's progression.

Tight, Immersive Narrative

Immediate Danger: As the elevator doors slid open, Mark saw the bomb timer: 00:10. He dived for the wires, heart pounding. The imminent threat and the character's swift reaction immerse the reader in the tension of the moment.

Critical Decision: The bridge was collapsing. Anna had seconds to decide—jump or try to save her friends. She took a deep breath and ran back. The character's quick decision-making in a life-or-death situation keeps the narrative focused and engaging.

By applying these principles, you can craft a novel that feels as dynamic and engaging as a blockbuster movie, keeping your readers hooked from the first page to the last.

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