#sentence formation

[deutschhaven]

Hauptsatz & Nebensatz: How to structure a sentence in German

When it comes to a sentence formation in German, I like to first of all make my expression in English quickly in my head. This is one way I have been able to maintain the order of making a perfect german sentence. Of course, this is first possible because I know the English rules as well as that of German and also believe them to be closely related, I can easily translate from one to the other,…

[physalian]

How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

—

Hope this helps anyone struggling! Now get writing.

[gailynovelry]

I don’t like getting intense over petty things, but why are people calling large paragraphs “bad formatting” now. It’s just formatting. Sometimes, a larger paragraph serves its text well, and sometimes it doesn’t, and there is a LOT more that goes into making a text block readable than length alone.

Please please please fucking please stop inventing all-encompassing arbitrary rules about what features define “good” art and “bad” art.

[promptfairy]

❥    𝐋𝐘𝐑𝐈𝐂𝐒 𝐅𝐎𝐑 𝐔𝐍𝐂𝐎𝐍𝐕𝐄𝐍𝐓𝐈𝐎𝐍𝐀𝐋 𝐒𝐇𝐈𝐏 𝐃𝐘𝐍𝐀𝐌𝐈𝐂𝐒    [   𝚂𝙴𝙽𝚃𝙴𝙽𝙲𝙴 𝚂𝚃𝙰𝚁𝚃𝙴𝚁𝚂    ]   .

designed for ships, but can be used for a variety of relationship types. change gendered language/add context to your needs. happy roleplaying !!  ♡

❛  it feels so good to be bad.  ❜ ❛  it really makes me wonder if i ever gave a fuck about you.  ❜ ❛  give me something to believe in.  ❜ ❛  i don’t believe in you anymore.  ❜ ❛  i wonder if it even makes a difference to try.  ❜ ❛  so, this is goodbye.  ❜ ❛  one day i’ll wake up & it won’t hurt anymore.  ❜ ❛  it’s like i can’t even feel after the way you touched me.  ❜ ❛  you’re everything that i want, but you don’t want me.  ❜ ❛  am i a regret, yet?  ❜ ❛  was it worth what it costed?  ❜ ❛  you make me nauseous.  ❜ ❛  you’re overrated.  ❜ ❛  when i think of you, i just want to throw up.  ❜ ❛  all my friends say that you’re toxic.  ❜ ❛  why does love suck?  ❜ ❛  love hurts whether it’s right or wrong.  ❜ ❛  i can’t stop, i’m having too much fun.  ❜ ❛  you can’t save me, baby.  ❜ ❛  you never call or listen to me anyway.  ❜ ❛  where were you tuesday, october tenth?  ❜ ❛  how is your jacket covered in blood?  ❜ ❛  how was the party? did you have fun?  ❜ ❛  i fell in love with the warning signs.  ❜ ❛  the only time i feel alive is when i’m touching the warning signs.  ❜ ❛  if you tell me to stay away, i’m gonna dive in again.  ❜ ❛  my favorite color is red like the flags you fly overhead.  ❜ ❛  well, i should have known.  ❜ ❛  didn’t you see it coming? didn’t you see the signs?  ❜ ❛  i’ll break your pretty face.  ❜ ❛  bite your tongue & choke yourself to sleep.  ❜ ❛  you can hold my hand if no one’s home.   ❜ ❛  do you like it when i’m away?  ❜ ❛  you’re a pond & i’m an ocean.  ❜ ❛  all my emotions feel like explosions when you are around.  ❜ ❛  i am a wreck when i’m without you.  ❜ ❛  was it something i said to make you feel like you’re a burden?  ❜ ❛  tell me, is it worth it?  ❜ ❛  she’s a lady & i am just a line without a hook.  ❜ ❛  do what you want as long as you stay here.  ❜ ❛  you’ll change your name or change your mind & leave this fucked up place behind, but i’ll know.  ❜ ❛  if you ever try to leave me, i’ll find you, [name].  ❜ ❛  i’ll be the bad guy, now.  ❜ ❛  i couldn’t be there, even when i tried.  ❜ ❛  seasons changed & our love went cold.  ❜ ❛  i knew that this was doomed from the get-go.  ❜ ❛  you thought that it was special, but it was just the sex, though.  ❜ ❛  it’s only me; what have you got to lose?  ❜ ❛  you should take it as a compliment that i got drunk & made fun of the way you talk.  ❜ ❛  you should think about the consequence of your magnetic field being a little too strong.  ❜ ❛  you’re so cool, it makes me hate you so much.  ❜ ❛  you’ve ruined my life by not being mine.  ❜ ❛  you’re so gorgeous, i can’t say anything to your face. ’cause look at your face.  ❜ ❛  i’m so furious at you for making me feel this way.  ❜ ❛  if you’ve got a girlfriend, i’m jealous of her. but if you’re single, that’s honestly worse.  ❜ ❛  you’re so gorgeous, it actually hurts.  ❜ ❛  you make me so happy, it turns back to sad.  ❜ ❛  there’s nothing i hate more than what i can’t have.  ❜ ❛  guess i’ll just stumble on home to my cats. alone … unless you wanna come along?  ❜ ❛  you look so happy when i’m not with you.  ❜ ❛  i don’t know why i run away.  ❜ ❛  take me back, ’cause i wanna stay.  ❜ ❛  i kept my distance ’cause i know that you don’t like when i’m with somebody else.  ❜ ❛  i couldn’t help it; i put you through hell.  ❜ ❛  i realize that it’s much too late, & you deserve someone better.  ❜ ❛  i’m not the best at breaking up.  ❜ ❛  i like my alone time, but i want somebody to hold.  ❜ ❛  i get what i want. i keep it for a minute. then i let it go.  ❜ ❛  i hate it when you’re there for me, but i like it when you hit the spot.  ❜ ❛  i don’t do fake love, but i’ll take some from you tonight.  ❜ ❛  i don’t expect you to understand.  ❜ ❛  i’m ready to die holding your hand.  ❜ ❛  i can’t hide how i feel about you inside.  ❜ ❛  i’d give everything up tonight, if i could just have you be mine.  ❜ ❛  i’d give up everything for you.  ❜

[inpermanences]

Caryn Pines, whose still alive to witness her little free spirit Stanley miraculously rise from the dead. The Stan twins buy a brand new sofa that extends into a bed just for her, so she doesn’t have to make a treacherous journey up the stairs. It’s her own slice of heaven, seeing her babies get along like they did when they were children. Seeing her grandchildren parallel to their uncles; Dipper, studious and reclusive, Mabel, crafty and eccentric.

It all comes to a head when Caryn wakes up at the witching hour. There’s ruckus being made in the kitchen, pushing herself upright and cursing at everything under the sun as she grabs a broom. She’s ready to beat whatever creature made the mistake of entering her sons home — pausing at the sight of her two sons.

“We need to put a lock on the sugar. I don’t know if my stomach can tolerate another Mabel’s Guide To Cooking experiment.” Ford grumbles. He opens the fridge, taking out a lemonade pitcher and pours out two glasses.

Stan’s chuckles. “Mhm. I know where you could get some sugar.”

Ford rolls his eyes at the cheesy line, having heard it a million times before. Thick fingers hook into the band of Ford’s boxers to reel him close to Stan. Ford narrows his eyes, raising an eyebrow as both his hands are preoccupied with glass, the condensation wetting his palms.

Stan grins, leaning in to steal a kiss.

It lasts for a mere few seconds before Caryn’s screams bloody murder.

The twins pull apart as if they’ve been electrocuted. Lemonade glasses crash into the sticky hardwood flooring, as they both snatch the nearest possible weapon. Stanley, an animal spinal cord with it’s ribs still attached. Stanford, a lamp.

“Mom? Mom, what’s wrong?” Stan asks, putting the bones down and taking a step closer. Caryn clutches the broom like a lifeline. She can only stare at this-this monster that’s inches closers with every step. He holds out his hand, presumably to take away the broom from her clutch. Motherly instinct kicks in, to protect Stanford from his own twin. Her arms rise to strike Stanley down. “Ow! Ow! Mom — that hurts! OW!”

“You freak!” Caryn screeches in agony and anger. Stan goes frigid underneath the safety of his arms from his mother’s blows. He looks down at his mother with her fury in his eyes — Stanley thinks she’s talking about Stanford. “You’re a monster!”

“I know it’s - OW! - the old age talking.” Stanley growls, one hand grabbing the handle of the broomstick. It only infuriates her further. “I don’t care if you’re our mom. I won’t let you talk about Stanford like that.”

“Mom, it’s really early in the morning. I think it’s better if we talk about whatever is bothering you with some breakfast.” Ford tries. They think she’s stupid. She’s known everything about them. How could she miss this? Ford places the lamp down, stepping closer to de-escalate the situation. “Please, stop hitting Stanley.”

“I saw you kissing your brother!” Caryn screams.

The twins freeze.

Caryn turns her focus back to Stanley. There’s no love for him anymore. Not for this depraved abomination corrupting her sons innocence. She tugs at the broom and the handle spilts in two. “How could you do this? After all the pain and misery you put us through, how could you?”

“Mom, I’m sorry—“ Stan starts.

Caryn doesn’t let him finish. She thrusts the broom handle forward like a sword and lets the splintered wood make a flesh wound into his left shoulder. Stan yells in pain, hand coming up to cover the bleeding.

“You ruined your own life! And now you you’re trying to drag your brother down with you!” She tries to strike another blow but misses as he stumbles backward, falling flat on his ass. Ironic, that even as he raises his uninjured arm to protect himself, it’s a strikingly all-to-familiar position. As a child protecting himself Filbrick’s coropal punishment.

Ford steps between them then, using himself as a shield to protect Stan from any further harm. “You’re worse than Filbrick. At least he wasn’t a fucking pervert for his own family! I want you dead, Stanley. DEAD!”

Ford takes the wooden handle out of her hands without a fight, tossing it away. Silence fills the room, none of them knowing what to say.

“Grunkle Stan?” Dipper calls from the kitchen entryway. The three of them snap their heads in his direction. He stands there with a bat in his hands, Mabel tucked safely behind him with her own grappling gun; looking worriedly at their bleeding Grunkle. Stanley scrambles onto his feet then, walking past the younger set of twins.

“Stanley, wait!” Ford calls for him. He raises his hand in a futile attempt to reach him, feet frozen in place as he lets the distance grow further. There’s the sharp sound of a door slamming, followed with a car speeding away from the Mystery Shack.

part two

[wardensantoineandevka]

Lucanis constantly yawning and asking for a cup of strong coffee in the middle of his jobs in Vows & Vengeance 🤝 Neve thinking about fried fish and the hours of sleep she's missing out on in the middle of her investigation in The Streets of Minrathous

[bucksboobs]

There’s a lot of ethical considerations when it comes to surrogacy especially when it’s a same-sex m/m couple, but if we put that aside for a second do we think Kameron finds out in a couple years that Buck and Tommy want kids and she’s like “Buck you have to let me have that baby please, we made such a perfect one last time and I owe you.” and Buck fully spirals because they did make a perfect kid last time but making Kameron go through pregnancy again and not have a baby to show for it —making her go through the same angst he did but with the added stress of carrying a baby she won’t be allowed to keep?

[hellogoodbyeitsme]

I think after the events of tim drake: robin the marina should just assume that [Bern's nonchalance toward finding out Robin and Tim were possibly sleeping together on the DL] is because they're actually a thrupple, and they're all just like oh that's nice actually 3 nice boys taking care of each other, how sweet :)

[teapetal44]

All For One should have stayed on the sidelines as a character after Kamino. His evolvement in everything after that significantly weakens the story. Building up Tomura as his protégé, framing him as the next symbol of evil, and then pulling the rug under everyone’s feet, is the worst writing decision Hori has ever made. In concept, All For One failing at passing the torch to Tomura is good, because it directly  parallels All Might and his mentorship to Izuku. Unlike All For One, Toshinori was aware the younger generation needed to take up the mantle. All For One is a selfish and controlling person, it makes perfect sense for him to be unable to give up his power to someone else. But in execution it falls apart the moment All For One continues to force himself upon the narrative, continues to serve as the big bad. All For One’s inability to pass the torch and Tomura as a main antagonist can co-exist without weakening the themes of the story.  

Like, imagine how cool it would have been if All for One was destroyed by Tomura after he tried taking control over his body and mind. Tomura realizes his master is holding him back from achieving his full potential and his goal, the thing he literally lives and fights for. Triumph over his master would be Tomura’s final step to becoming the new symbol of evil and his self-liberation. Then, he would truly be free of everything holding him back. AFO, the puppeteer, the man always one step ahead of everyone else, would be conquered by the very same person he molded – he planted the seed, but at last, what grows is out of his control. In a sense, he would be punished by the story for failing at passing the torch and Tomura would be cemented as the final antagonist, and his journey would feel satisfying.

All though, I see why Horikoshi didn’t write it like that – cause that would require giving Tomura actual autonomy as a character. Something he actively avoids doing every chance he gets. It’s easier to have a character who is crafted to be evil by one powerful bad man before he was even born, than to portray an abused child failed by a fundamentally corrupt society that values consumerism over actually helping those in need, who ended up in the hands of the powerful bad man because the child slipped through the cracks of said society. MHA conveys to the viewer that there are no bad systems, only bad people within the established systems.

Tomura couldn’t own his conception, nor his heroic goals, not even his abuse. Nothing ever happened to him because of society as a whole or because life is cruel and merciless. It happened because Anime-Satan said so.

[draco-glacialis]

*Jen and Agatha arguing with each other over text*

Agatha: I Will Break Into Your House And Unvirgin Your Olive Oil You Absolute Knob.

Jen: what does the even mean??

Agatha: *read 3:33am*

[physalian]

How to make your writing sound less stiff part 2

Part 1

Again, just suggestions that shouldn’t have to compromise your author voice, as I sit here doing my own edits for a WIP.

1. Crutch words

Specifically when you have your narrator taking an action instead of just… writing that action. Examples:

Character wonders/imagines/thinks/realizes

Character sees/smells/feels

Now not all of these need to be cut. There’s a difference between:

Elias stops. He realizes they’re going in the wrong direction.

And

Elias takes far too long to realize that it’s not horribly dark wherever they are

Crutch words are words that don’t add anything to the sentence and the sentence can carry on with the exact same meaning even if you delete it. Thus:

Elias stops. They’re going in the wrong direction.

I need a word in the second example, whether it’s realizes, understands, or notices, unless I rework the entire sentence. The “realization” is implied by the hard cut to the next sentence in the first example.

2. Creating your own “author voice”

Unless the tone of the scene demands otherwise, my writing style is very conversational. I have a lot of sentence fragments to reflect my characters’ scatterbrained thoughts. I let them be sarcastic and sassy within the narration. I leave in instances of “just” (another crutch word) when I think it helps the sentence. Example:

…but it’s just another cave to Elias.

Deleting the “just” wouldn’t hit as hard or read as dismissive and resigned.

I may be writing in 3rd person limited, but I still let the personalities of my characters flavor everything from the syntax to metaphor choices. It’s up to you how you want to write your “voice”.

I’ll let dialogue cut off narration, like:

Not that he wouldn’t. However, “You can’t expect me to believe that.”

Sure it’s ~grammatically incorrect~ but you get more leeway in fiction. This isn’t an essay written in MLA or APA format. It’s okay to break a few rules, they’re more like guidelines anyway.

3. Metaphor, allegory, and simile

There is a time and a place to abandon this and shoot straight because oftentimes you might not realize you’re using these at all. It’s the difference between:

Blinding sunlight reflects off the window sill

And

Sunlight bounces like high-beams off the window sill

It’s up to you and what best fits the scene.

Sometimes there’s more power in not being poetic, just bluntly explicit. Situations like describing a character’s battle wounds (whatever kind of battle they might be from, whether it be war or abuse) don’t need flowery prose and if your manuscript is metaphor-heavy, suddenly dropping them in a serious situation will help with the mood and tonal shift, even if your readers can’t quite pick up on why immediately.

Whatever the case is, pick a metaphor that fits the narrator. If my narrator is comparing a shade of red to something, pick a comparison that makes sense.

Red like the clouds at sunset might make sense for a character that would appreciate sunsets. It’s romantic but not sensual, it’s warm and comforting.

Red like lipstick stains on a wine glass hints at a very different image and tone.

Metaphor can also either water down the impact of something, or make it so much worse so pay attention to what you want your reader to feel when they read it. Are you trying to shield them from the horror or dig it in deep?

4. Paragraph formatting

Nothing sticks out on a page quite like a line of narrative all by itself. Abusing this tactic will lessen its effect so save single sentence paragraphs for lines you want to hammer your audiences with. Lines like romantic revelations, or shocking twists, or characters giving up, giving in. Or just a badass line that deserves a whole paragraph to itself.

I do it all the time just like this.

Your writing style might not feature a bunch of chunky paragraphs to emphasize smaller lines of text (or if you’re writing a fic on A03, the size of the screen makes many paragraphs one line), but if yours does, slapping a zinger between two beefy paragraphs helps with immersion.

5. Polysyndeton and Asyndeton

Not gibberish! These, like single-sentence paragraphs, mix up the usual flow of the narrative that are lists of concepts with or without conjunctions.

Asyndeton: We came. We saw. We conquered. It was cold, grey, lifeless.

Polysyndeton: And the birds are out and the sun is shining and it might rain later but right now I am going to enjoy the blue sky and the puffy white clouds like cotton balls. They stand and they clap and they sing.

Both are for emphasis. Asyndeton tends to be "colder" and more blunt, because the sentence is blunt. Polysyntedon tends to be more exciting, overwhelming.

We came and we saw and we conquered.

The original is rather grim. This version is almost uplifting, like it's celebrating as opposed to taunting, depending on how you look at it.

—

All of these are highly situational, but if you’re stuck, maybe try some out and see what happens.

*italicized quotes are from ENNS, the rest I made up on the spot save for the Veni Vidi Vici.

[the-sunbee]

so- i was having thoughts about the cmv (and graciously threw them at a friend) and yall get them too.

isla chose everyone else's survival over her own:

she left her kingdom and married fable to save her people

she was either made or decided to stop visiting her fathers to save them from seeing her misery

she went to enderian for information because her husband wouldn't give ti to her (to protect her people again)

she left fable and went to enderian to save both her children

she left enderian to save icarus

she hid from the gods to save her children

she got taken by fable to save her children again

something something Isla only chose herself and her feelings when she fell in love with Enderian

[simandy]

I think my exams are AI generated. Can i die now

[promptfairy]

❥     𝐂𝐇𝐑𝐈𝐒𝐓𝐌𝐀𝐒 𝐒𝐎𝐍𝐆 𝐌𝐄𝐃𝐋𝐄𝐘    [   𝚂𝙴𝙽𝚃𝙴𝙽𝙲𝙴 𝚂𝚃𝙰𝚁𝚃𝙴𝚁𝚂    ]   .

change gendered language   &   add context to your needs . happy roleplaying !!  ♡

“   last christmas ,   i gave you my heart .   ” “   i kept my distance ,   but you still caught my eye .   ” “   tell me ,   do you recognize me ??   ” “   now i know what a fool i’ve been .   ” “   if you kissed me now ,   i know you’d fool me again .   ” “   i was hiding from you   &   your soul of ice .  ” “   my god ,   i thought you were someone to rely on .   ” “   i guess i was just a shoulder to cry on .   ” “   now i’ve found a real love ;   you’ll never fool me again .  ” “   i thought you were here to stay .   ” “   how could you love me for only a day ??   ” “   i thought you were someone special .   ” “   i don’t want a lot for christmas .   ” “   i don’t care about the presents underneath the christmas tree .   ” “   i just want you for my own ,   more than you could ever know .   ” “   make my wish come true .   ” “   all i want for christmas is you .   ” “   i won’t even wish for snow .   ”

“   i’m just gonna keep on waiting underneath the mistletoe .   ” “   i’m feeling christmas all around .   ” “   it’s hard to focus when i see him walking across the room .   ” “   i’m avoiding every mistletoe until i know it’s true love .   ” “   i want to let you unwrap me .   ” “   this year ,   i’ve got to be smart .   ” “   later ,   we’ll have some pumpkin pie   &   do some caroling .   ” “   in the meadow ,   we can build a snowman .   ” “   it’s the most wonderful time of the year .   ” “   you are my home for all seasons .   ” “   please don’t cry ,   it’s christmas .   ” “   i only want you under my mistletoe .   ” “   i might change your contact to   ‘  has a huge north pole .  ’   ” “   i’ve been a bad girl ,   i guess i’m getting coal .   ” “   let me come warm you up ,   you’ve been out in the snow .   ” “   you’re my wishlist .   ” “   looking at you’s got me thinking christmas .   ” “   it’s been a long ,   hard year .   ”

“   let’s hope the snow will make christmas right .   ” “   sure it’s madness ,   but it’s magic .   ” “   i just want a cozy little christmas here with you .   ” “   you’re the only one i’m wishing for .   ” “   we were dreamers not so long ago .   ” “   there’s no time to waste ;   there’s so much to celebrate .   ” “   tell me what’s on your wishlist ,   i wanna make it come true .   ” “   i don’t think i’m gonna make it through the winter ,   babe .   ” “   santa won’t bring you somebody who loves you more than me .   ” “   you’re gonna leave me all alone ??   on christmas ??   ” “   can’t we just snuggle underneath the tree by the fireplace ??   ” “   you know i make those cookies you like .   ” “   maybe this christmastime ,   you’ll finally realize that i could be the one to give you everything you want .   ” “   greeting cards have all been sent .   ” “   i still have one wish to make .   ” “   in my dreams ,   i’m christmasing with you .   ” “   every day is a holiday when i’m near to you .   ” “   if there is love in your heart   &   your mind ,   you will feel like christmas all the time .   ” “   merry christmas ,   darling .   ”

[samscompliment]

MARY WINCHESTER. sorry. no i’m not. i cannot stop reimagining the first two episodes of season 12 from mary’s perspective. beginning not with a recap of season 11 but the 22 years ago intro and moving swiftly into the graveyard with 37 year old dean…… and like if the episodes followed mary and JUST mary…. we already know sam and dean and how this goes so i just think taking the opportunity to see them from an awfully intimate but horrendously outsider perspective would be COOL. why isn’t supernatural ever cool

[malk1ns]

Sentence ask:

You made Icebergh cry

"He's a mascot," Sid mutters mulishly, crossing his arms—he sounds petulant even to his own ears, but he can't help it, "and mascots don't cry."

"Ours does," Jen says crisply, tapping away at her phone, seemly impervious to the turbulence that's only making Sid's irritation worse, even though they're finally headed back to Pittsburgh, "and you're going to apologize to him before practice tomorrow—no, no arguing, I don't care if you're bondsick, you don't get to snap at people like that."

Sid sighs gustily and slumps down in his seat. Even Nate's hastily-lended sweatshirt hadn't been enough to cool the onset of Sid's rut, too early and totally unplanned-for, his mate hours away and unable to join him in Toronto without the Pittsburgh Penguins' biggest secret getting blown wide open.

Geno had sent him a picture half an hour ago, no caption, just him sprawled out belly-down on Sid's bed, eyes sleepy and the swell of his ass just barely visible; Sid keeps opening his phone to look at it, can't help himself, but every time he does, the need to get back to his mate claws further up his throat—if there's a delay when they land, Sid might tear the plane door open and just run for it.

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