#she has a thesaurus

[scattergoriesofevil]

Burrow’s End party names

Episode 1: Stupendous Stoats

Episode 2: Mystical Mustelids

Episode 3: Excellent Ermines

Episode 4: Wondrous Weasels

Episode 5: Vicious Varmits

Episode 6: Preternatural Predators

Episode 7: Invasive Investigators

Episode 8: UnCommon Carnivores

Episode 9: Little Guys

Episode 10: Stupendous Stoats

Aabria you did such a good job!

[blackswallowtailbutterfly]

Someone insisting we don't learn language intuitively unless homeschooled...Did...did your parents put in you in school at 18 months of age? Did a teacher go around a room of toddlers with a dictionary saying, "This is what 'mama' means"? Because if the answer to that is no--and it is definitely no--you learned language intuitively, like everyone else. The finer points you learn in school, and later on your own, but even as you're doing that, you're still picking up words and phrases just by talking to people and reading.

[fortifice]

i think everyone already said everything perfectly <3 but i wanna add some to it too. not only about gepp's portray, but every other muse you write as well - we're been writing for many years together and i absolutly love interacting with you rayray, your portray is so beautiful you don't even need the use of icons to let me hear your muses talking when i read your writing. your vocabulary is amazing, i love finding new words i didn't think of using and learning from your writing. our interactions affected me sm i always miss old muses we were writing together (I KNOW YOUD WRITE THEM FOR ME IF I ASK but it's just the nostalgia ok. my baby aku.). you put a lot of love and care to the portray of geppie, his story and past, headcanons, even to the point of replaying the game to understand him better. your determination around portraying the chars that are the closest to ur heart is really amazing and i admire that a lot in you. stay amazing.

i go back and fondly look at our atsushi and akutagawa threads often okay i think we really should write them again sometime because i adore them sm and i adore you ??? our times writing together have always made me so happy !! haha pun awful asldkjasd

[deva-arts]

She's corrupting him with brushed hair, skincare and head scratches. Soon he might actually be tolerable.

On a side note who gave him that smarmy shirt. Someone, anyone. Go compost it.

Bonus scribble and speedpaint under cut!

Making the ratman want to go back to the sewers

Video!!! A video!!! I love ibispaint's niche little features <3

[lactoseintolerentswag]

Big Mama's Dialogue

I've heard a few people lament on how Big Mama is difficult to write because of how she speaks, so I thought I'd share my tips and tricks.

I start out by writing what I intend for her to say without the flowery language added on. For example:

"I look nice in the new jacket I bought."

Doesn't sound like Big Mama at all, but it'll help you have a place to start so you don't have to be intimidated by scrolling through thesaurus.

Now, Big M has a tendency to do the following:

Use outdated American slang (anywhere from the 1920's to the 60's)

Apply alliterations (using the same letter at the beginning of a word to the adjacent/close word)

Use adverbs, so describing words with the end suffix -ly (i.e. softly, mysteriously, quickly)

Sprinkle in a few made-up words

So let's take the base sentence I provided an shape it to Big M's standards.

Resources for American slang:

Instead of word vomiting out all the outdated American slang I know, I'm going to link some resources/websites you all can look at and come back to. She mostly uses 20's slang, so the links are centered around that.

1920's slang PDF, alphabetically organized!!!

List of slang phrases originating from the 1920's to the 2010's

Short list of slang flapper's from the 1920's used

So let's edit our base sentence a little, now it's:

"This new jacket I bought is the cat's meow."

Adding the next layer:

I did mention that Big Mama tended to use both alliterations and adverbs in copious amounts, but don't feel pressured to use both at once in a sentence. If it fits, it fits. If it doesn't, some trimming might be useful. This is why having a base sentence is important, so the intention behind the dialogue isn't lost under all the additions you're adding. So with that in mind, I'm going to alter our example:

"This new jazzy jacket I just bought is the cat's meow."

The last part:

I save the "fake words" part for last, because beginning with them can make your sentences clunky or not make sense. This part really relies on your personal touch or the context and tone of the situation at hand. The example I gave make Big Mama sound like she's preening about her looks, so I'm going to lean into that.

"This newsie-woozie jazzy jackety I just bought is the cat's meow! Grr!"

And for comparison, here's where we started.

"I look nice in the new jacket I bought."

And well, that's it!!! Hope it was helpful to those that needed it!!!

[teaandspite]

The Great Goodreads Diss List (Part 1)

Context: For many years now, I have been collecting funny lines from Goodreads reviews to share with my coworkers. (I do collection development, reader's advisory, and weeding at a public library, so I read a LOT of reviews)

Are some of these, perhaps, rather mean? Yes, but they are also very funny, and come from a place of honest frustration. In the tradition of Bargepole threads and lists everywhere, names and titles have been censored.

"First, I want to say that I understand how hard it is to write a book and how amazing it is when it is actually published. Congrats to the author for that accomplishment. That said--"

"Warning: This review will be lengthy due to pure hatred."

"I found myself feeling really, really annoyed with the world that this book is allowed to exist. We live in a universe where the passenger pigeon is extinct but this book goes along merrily being read by unsuspecting lovers of words and ideas and stories? It just seems like too much, you know?"

"Don't do it. Don't spring the cash for the hardcover. Instead, eat an entire bag of Twizzlers, spend some money you don't have at a high-end department store, look up on Facebook the shady college boyfriend that made you cry, research the current value of your home or 401K and then read all about how the big hedge fund managers are faring during the economic crisis. You'll feel about the same stomach pain if you waste your time reading this book."

"This wretched novel begins with the mugging of an old lady and it appears I may be in the process of repeating that loathsome crime as [author] was 78 when she wrote it. It is not nice to put the boot into such a poor defenseless old creature lying there with only a damehood, a Booker Prize and a few million quid. It’s a nasty job but somebody has to do it."

"I think this is the way dead people would write, if they could."

"I am considering setting up SPABB: Society for the Protection of Accurate Book Blurb. This blurb appears to have been written by someone from the publishers who met [the author] the night before, got very drunk, lost his notes and then constructed something in a fug of hangover the next morning."

"I congratulate [the author] on the early half of his book, which was thoroughly fun and made me laugh and think. I congratulate [the author] on the second half of his book, for finishing it. It reads like that was difficult."

"…a woman whose taste in contemporary literature has roughly the same batting average as a pitcher in the National League."

"The author is a pompous windbag."

"Recommends it for: No one. Recommended to me by: A friend who apparently wished to cause me great suffering."

"Makes me wonder: is it possible to obtain similes at a volume discount?"

"The repeated phrases made me want to mail a thesaurus to the author."

"I'm disappointed in myself for finishing this book."

"if the author described [character's] eyes as "obsidian" one more time I was tempted to write her and ask if her thesaurus broke."

"They say that an infinite number of monkeys with an infinite number of typewriters would, if given infinite time, eventually produce the complete works of William Shakespeare. [This book], on the other hand, would probably take the average monkey just under two hours."

"I can't imagine what the author had to do to get this nadir of Western literature printed on innocent trees, but he does seem to know a LOT about being well-connected in New York."

"This book is so bad it is almost worth reading just to make you appreciate the other books you are reading."

"Reads like it was written by a brilliant author, the night before it was due."

"raises interesting questions, like: can a book be so bad as to constitute an act of terrorism"

"has this author ever spoken to a human woman"

"This acorn has fallen so far from the tree that it can’t even see the forest."

"I’m guessing they are touted as ‘beach reads’ because no one will care if they get dropped into the ocean."

"This book begins with all the energy of a hand vacuum near the end of its battery life, and the pace doesn't quicken much from there."

"At least everybody’s eyes stayed the same color this time around.”

Part 2

[yamujiburo]

At some point, I think someone has to ask if Jessie knows any other descriptor for kids besides twerp, because it really seems like she only knows the one word. Like, girl… do you need a thesaurus or something?? Is twerp just a good mouthfeel, why do you only call kids twerp? (Oh no now I’ve written it too many times and the word no longer makes sense anymore, I don’t know how she does it)

have you seen this page? it's so fucking funny

[super-nova5045]

sylvia plath, todd anderson and virginia woolf (aka ACTUAL tortured poets) watching taylor “im breaking up with my boyfriend for his intense depression and blaming it on him, im dating a racist who enjoys watching woc being brutalized and harasses young woc artists, i sent my fans out on a hate train to attack a young woc actress for a line she had to say as part of her job to show how mentally ill her character was, im dating a maga supporter, i refuse to say anything about a current genocide despite being the most influential person in the world right now, i am a billionaire, i fly 13 minute flights and have the highest carbon emission of any celebrity, i am a known white feminist who only speaks about issues when it affects me and has constantly let my fans get away with extreme racism and even encouraged it by associating myself with known racists” swift call herself a tortured poet (her writing sounds like a bunch of thesaurus words slapped over gabba hanna and rupi kaur-esque poetry that was created purely as a trinket for an edgy pinterest board)

[lenoraslament]

Tom Riddle x Y/N

Hot Mess Part 2

Humor/smut/angst 2.2k words

Tom leaves you at the party, but he isn’t going to leave you wanting more for long. Still mad about you beating him at a duel, the prince of darkness just can’t leave you alone.

Warnings: smut, spanking, teasing, degradation.

Read Part 1 here.

You watched Tom disappear around the corner, and for a moment a rogue thought appeared in your head

Stop Him

Time slipped away as quickly as he had. You were dancing alone for so long.

The bass pounding only disoriented you more. Too many drinks, too much to smoke.

But you didn’t. You leaned your head back as you swayed to the ever present beat of the music. You felt a hand snake around your waist from behind and pull you in. Enzo? Theo? No, if was unfamiliar with a pair of lips that started kissing your neck.

You took a sharp breath in and realized familiar cologne was pouring over you. Teeth softly met your shoulder blade and began to nip at the spot that made your eyes roll back. Your lips part into a gasp as the hand traces along the line of your hips, dipping down to stroke your thighs.

“The whole wizarding race depends on us ,”you hear his voice teasing you.

“Hello Satan,” you slur out in response,”what happened to the girl you were with? Did she take one look at your little basilisk and die of disappointment?”

You’re about to laugh at your own joke but his hand comes down smacking you firmly on your left asscheek. You let out a strangled moan.

“You are so tawdry Y/N, you know that?” He growled in your ear.

“Maybe you should be reading up on Legilimens instead of studying the thesaurus” you tease but his hand comes down on you hard again making a gaspy scream escape your smart mouth.

“Do you ever shut up, you whore?” He asked, one hand has a vice grip on your hip bone the other one drawn back ready to meet your quip. His hips are pushing into your back

You lean your head back so it rests on his chest, looking up at him daringly.

“Not unless you make me”’you say giggling. This time he doesn’t spank you, he only tightens the hold on your hips.

“Come with me. Now.”he said whirling you away before you argue.

He whisked you down the hall, his hand intertwined in yours. You stumble after him taking in his dark hair, his broad shoulders, the musculature of his arms. Every substance you stockpiled in your system seems to fuel the burning heat of arousal coursing through you,

He unlocks the door to his private headboy dorm, before you can register the change in atmosphere he’s pushing you against the closed door.

One hand in his waist and the has a tight grip on your jaw. His eyes burn fire into yours, heavy with need. Tom’s lips part and inch closer to yours.

Your eyes flutter closed and you breath in the anticipation.

“How did you do it?” His low grumbly voice surprises you.

Your eyes snap open,” what?” You look at him honestly confused,”do… do what?”

“Beat me at the duel?” He growls.

Your mouth drops open into a scoff and you shove his chest away as roughly as you can,

“Seriously!?” You yell,”you’re asking me about the fucking duel!?”

Tom narrows his eyes as he uses his hands to push your hips back into the door. He crushed his lips into your neck, nuzzling and biting as he groped you

“How!?” He lets out a frustrated groan into your neck

“Oh and you’re going to fuck the answer out of me!?” You cry out and shove him again,”just get off of me Riddle for the love of Merlin!”.

He pulls away and picks his hands up, not because he wants to stop but because you’re screaming too loudly. He doesn’t want anyone to hear.

“Get out” he snaps and you gladly open the door behind you and stomp down the hall.

Someone has laid an anchor on your head and a snake in your belly. Those are the thoughts that come to you as you sit up the next day at nearly 1pm.

“Accio water” you mumble and the glass of water on your desk flies towards you. You barely catch it, it lands mostly on your face and lap as you groan. The couple of sips you manage to get feel like rain hitting hot asphalt.

You stumble into the bathroom, garnering a couple of stares from girls who looked fresh and pretty. Pretty girls, who and been up drinking coffee and gallivanting this beautiful Sunday morning. These girls giggle in the library, and share chocolate frogs. These girls never throw up in the shower.

Thank Merlin for magic. You think as you make it disappear with a spell. You’re determined to stand under that shower until the hot water boils off all your sins. Or at least all your thoughts about that dark haired psychopath, who keeps slipping in between the pounding in your head.

You scrub your skin until it shines. You brush your teeth with a vengeance. You put on lotion and perfume, even blow dry your hair. You wear lipgloss and mascara. You’re only 65% sure you’re not dying.

For hours you wander, into the Great Hall, into the Slytherin common room. Mumbling to your friends to shut up. Hiding behind your sunglasses again. But you can’t hide from Tom who lurked in the shadows like a lion hunting his prey.

Tom had been watching you since he saw you stumble into the Great Hall. Your little sundress and sandals, your perfect hair and those giant fucking sunglasses. His eyes wander over your body, your legs, your hips your breasts. He almost had you last night. After you left he was furious, not only because he didn’t get the answers he wanted. He didn’t get you either.

You fluttered around the castle as if the constant movement could hide the pain you were in. He fingered the potion in his pocket, he had brewed early this morning. A hangover potion, trying to decide when to make his move.

Finally you landed in the Slytherin common room, stretching into the couch like a cat. The hem of dress flirting with the top of your thighs. The sight pained him so badly he bit his own lip.

Your head was tipped to the side as you laid on the luxe green couch. He couldn’t tell if you were asleep .Those giant sunglasses he wished he could confringo were covering your eyes too well. He put his tongue in his cheek trying to decide if he should take the chance and Legilimens you or if he should give you the hangover potion.

Of course, he didn’t know that you had been watching him contemplate the two options as he stood over you. You tip your sunglasses down and glare at him.

“Did you ever consider that I beat you at the duel because I’m simply that good.” You say not hiding your annoyance.

Tom nearly jumped when you spoke, his look of surprise quickly turned into a grimace.

“Impossible. You’re a vapid whore” he spat angrily.

You pushed yourself up on your forearms, finally fed up with him.

“And you are a pretentious little know it all, who is not nearly as smart as he thinks he is!”’you rant chest practically heaving in anger,”you’re arrogant, only leaning on your fathers name and status, the dark lord should be ashamed to see you resting on your laurels. I could occlude you in my fucking sleep!” You snap, cheeks flushed in pure rage.

Tom looks peaked by your words. His mouth drops open and closes. He is…impressed. By your anger and confidence. You insulted him the same way you duel, with fire and passion. He says nothing, he only shoved your legs over so he can sit down next to you. You sit up. He takes the small vial of hangover potion out of his pocket and hands it to you.

You give him a side eye, and open to smelling it. You recognize its scent immediately and take it. You play with the empty vial in your hands.

“I still hate you,”you grumble at him.

He looks at you sidelong and pushed a loose strand of hair behind your ear,”I hate you too. Slut.”

“Sociopathic fuck”

“Superficial bitch”

“Brown nosing-“

You get cut off as he grabs your face, he tips your head back softly. Your lips brush against eachother making you gasp as you part them further. Your tongues touch with voltage, they dance against eachother and your eyes nearly roll back. Your arms are around his shoulders as his hands tangle into your hair.

Silence follows you both down the hall. Into his room. Before the door is closed his lips are on your neck, sucking and biting as you make quick work of the buttons on his shirt.

His hands nearly claw up your thighs to take two handfuls of your ass as his lips roughly crash onto yours again. Your teeth scrape together, tongues fighting for dominance. He pulls back panting, taking the straps of your dress and pulling them down your shoulder as you tug his hair needily.

Zip. The sound of his slacks falling in time with your dress. Nearly tripping over his pants, he shoves on the bed. Nothing about your movements are sensual. They are furious with hunger. He bites your neck as you claw his back, your flurry of breaths and whines are silenced as he pulls back.

You lay beneath him as the starkness of both of your expose bodies hits you. He lays kneeled between your legs, one hand gripping your waist. Both of your eyes survey eachother, mouths open in lust.

Finally they draw together, a gaze that only deepens the fire that is threatening to set the bed ablaze. He pushes into you making you gasp and arch your back. His thumb traces over your lip as he moves slowly, teasingly. His eyes never leaving yours.

Drawing breaths and gasps from your mouth as you feel yourself being stretched and released. His hand drops down slowly to wrap around your throat. His deep controlled pace never faltering, you expected fast and hard. Somehow the smooth, painfully slow and measured pace is maddening to you.

Your eyes roll back as you moan loudly, the heat coiling inside you threatening to snap as he draws out your orgasm. His hand squeezes as you scrunch your face, teetering onto the edge of your climax.

Right as the heady feeling rips through your body, he picks up his pace. It earns a breathy scream from your lips, he fucks you right through your peak. Hard. Making you writhe your hips and grasp at the hand still around your throat. White hot pleasure blinding out all of your other senses.

He smirks at you only making your hatred and desire intensify.

“You even fuck like a deranged-“ you start but he cuts you off by flipping you around. His hand clamping against your mouth as he takes you from behind.

“Shut up for the love of-“ he mumbles between thrusts and moans. He bites your shoulder softly as his free hand reaches between your legs to stroke your swollen clit.

You begin to come undone, making his excitement grow. Your legs give out from the intensity, as your stomach hits the bed he continues to fuck you into the mattress, the hand that held your mouth now softly tugging at your hair. He leans closer and you feel his breath tickling your shoulder blade, his moan near your ear nearly has you close again. Is this why all those girls are so obsessed with him? You wonder

“Get off” you mumble suddenly surprising him. He slowly pulls his hips away and you turn to look at him.

“Lay back” you tell him, he only raises his eyebrow in amusement.

“No” he says plainly as he moves to kiss you again.

You draw your lips away and smile, “Lay back or I leave”. He glares at you before letting himself lay back on the bed. You crawl over and straddle him, sinking your hips down onto him slowly as payback. He immediately grips your hips to move you but you surprise him by slapping him across the face softly.

“Patience” you whisper. He can’t help but smirk and loosen his grip. Your hips roll like waves in the ocean, his eyes shut and his head falls back as you ride him with the same intensity as he tortured you with.

“Fuck…” he mutters as you squeeze your kegel muscles and begin to snap your hips forward faster. His fingers dig into your waist as you both pant and moan.

“You really are a good little slut” he mutters and you draw your hand back again to strike but he catches your wrist and pulls you towards him.

You fall forward on his chest and he holds you there; bringing up his hips to take control and fuck you at a faster pace. Another sweet burn makes you whine into his chest as his arms interlock around the small of your back. His movements are getting sloppy and slower and he mumbles your name breathlessly.

“Oh fuck Y/N…oh “

Hearing your name escape his lips, is enough to throw you over the edge as you both buck and gasp into your shared climax.

A chorus of breaths overtake both of you, as you collapse onto him covered in sweat. You feel his arms ease up on you, his hand strokes your back softly. His lips nestling against your forehead.

“I want a rematch” he says as he pants,”to the duel. I need a rematch”.

You roll your eyes as you breathe into his chest.

“You’re impossible.”

Taglist: @abbiesxox

[writingquestionsanswered]

how do i make my writing more ‘mature’? i always feel like no matter how sophisticated i write and no matter every which way i change it up it always has a sense of being childish or juvenile.

Making Writing Sound More Mature

1 - Better Plot and Story Structure - One of the telltale signs of juvenile writing is a story that meanders, has no obvious plot or structure, has no conflict or has a protagonist with no goal. So, make sure you have a well fleshed out plot, with a conflict, protagonist goal, and which hits the beats specific to your story's genre.

2 - Three-Dimensional Characters - If you're writing plot-driven fiction, make sure your main characters have a fleshed out personality, stakes, motivation, goal, and compelling relationships with other characters. If you're writing fully or partially character-driven fiction, do all of the above, but also make sure your main characters have a relevant internal conflict and a thoughtful character arc.

3 - Well-Developed Setting and World - One common hallmark of juvenile writing is a lack of "sense of place" and under-developed world building. So, make sure you put a lot of thought into where your story takes place... not just the immediate setting of each scene, but the overall world of the story, or at least the parts of it that are relevant.

4 - Incorporate Literary Devices - Juvenile writing tends to be lacking in the use of metaphor, simile, symbolism, irony, themes, and motifs. So, make sure to include those, but also take the time to make them relevant to your story.

5 - Include a Broad Range of Vocabulary - One common element of juvenile writing is a reliance on limited, simple vocabulary. Don't be afraid to use a thesaurus to find more interesting word choices--just be absolutely certain to crosscheck your choices with a dictionary to make sure they are the right choice. Online thesauruses in particular are bad about offering up bad suggestions. Also, make sure to learn and use special vocabulary that is relevant to your story, genre, or setting. For example, if your character is a retired police detective trying to solve a murder on his stalled cruise to Alaska, you need to make sure you know the proper investigative terminology, because he will definitely use it. And, by that same token, you'd want to make sure you know cruise ship lingo as well. And, part of this, too, is getting better at description and the inclusion of emotional and sensory detail.

6 - Use Varied Sentence Structure - This is a big one... juvenile writing tends to use repetitive sentence structure, such as simple sentences (she stood up, she went to the window, she waved at the man), lack of subordinate clauses (Tad Smith, who was a seasoned and retired investigator, had looked forward to this cruise his whole life...), repetitive starts (every sentence begins with a pronoun, for example), uniform length (all short sentences, for example.) So, make sure your sentences are varied. If you read them out loud, you don't want it to sound rhythmic, but more like a complex melody.

7 - Show, Don't Tell... Most of the Time - Telling definitely has its place, but most of the time you want to show rather than tell, meaning that instead of stating things simply and directly (the sun was shining) you want to paint a clear but indirect image (dappled sunlight shone through the trees.)

8 - Avoid Cliche Phrases - Human language is littered with everyday phrases like "to each their own" or "better late than never." Generally-speaking, you want to avoid these phrases in your story, especially in exposition. If you include them anywhere, they're best spoken as dialogue by a character who it makes sense would say something like that. Likewise, be careful of cliche genre or character-type phrases. For example, villains who say things like "we're not so different, you and I..." or "I finally have you right where I want you!" These overused phrases tend to make stories sound juvenile and unpolished.

9 - Avoid Cliche Tropes - Another type of cliche to avoid if you want more mature-sounding writing is cliches of various tropes. Tropes on their own are a good thing, but when tropes are used the same way over and over again in a genre or type of story, they become predictable. For example, the super gorgeous protagonist who everyone is in love with, but they view themselves as plain and not special. Or the broken/hopeless/addict mentor character. It's not that you can't use any cliche tropes at all, just make sure your story isn't riddled with them, and do what you can to put your own spin on the ones you do use.

10 - Read, Read, Read - And I can't stress this enough... the absolute best way to improve your writing style and take your writing from juvenile to polished is to make sure you're reading a lot of fiction, in a lot of genres, by a lot of authors. Audio books, short stories, and poetry count, too. The more you read, the more you begin to: understand plot and story structure, recognize well-developed characters, easily envision complex settings and worlds, learn vocabulary and literary devices, become attuned to varied sentence structure, and learn to recognize cliche phrases and tropes.

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[venuzasmuse]

𝐁𝐀𝐁𝐘 𝐂𝐀𝐌𝐄 𝐇𝐎𝐌𝐄, 𝐞. 𝐰𝐢𝐥𝐥𝐢𝐚𝐦𝐬

— the holidays are meant to be festive, free of heartache and solemnity, but odds are forever not in your favor as you spend the holidays with your best friend alongside her sister, that broke your heart.

[rockstar!ellie au, best friend’s sister!ellie, kinda mean!ellie (for a few parts of the story)]

warnings: reader is afab, not proofread, ANGST, ANGST, AND MORE ANGST, mentions of heavy themes of substance abuse (drugs), ellie is lowkey a dick in this story lol, smut & fluff in later parts, SLOW BURN. POC FRIENDLY! minors & men don’t interact.

parts:

prologue: read this

one: click here

the holidays were supposed to be festive—full of cheesy tearjerker hallmark movies, a hot chocolate filled aroma, gingerbread houses that took up too much of your time to make, and an obnoxious amount of "holy nights" being sung in the pews of a church.

or even emotional long hauls back home if you were blessed enough to have one to go back to.

the holidays- especially christmas- is a time where even the moviegoers were granted 'awes' as families reconciled on a big screen.

yet, you haven't celebrated a christmas in the span of 2 years ever since you drafted yourself away for college.

it wasn't because you were deadbeat or were escaping for any given reason. no, you still regularly keep in touch with your parents but after you left for college, they decided to leave behind the mundane lifestyle they've had since moving to the middle of bumbfuck nowhere.

your hometown is just below austin, texas, but still far enough where the only things you saw to even get to the nearest walmart, were "has anyone else died for you?" billboards and a plethora of dollar generals at the end of every street.

it was reasonable for them to leave given there wasn't much keeping them in the first place but unluckily for you, it led you to every christmas since then spent alone in your dorm room.

you never really minded.

it ate away at you for the first few days during your first holiday away from home but eventually you grew accustomed to sitting with your solitude.

it also helped that you were rooming with a random who never was home enough to question why you were still on campus when she arrived after the break.

but once you began rooming with sarah, spending another "blue christmas", as she calls it, by yourself was nowhere in alignment in her thesaurus of plans.

she left no room for debate as she coerced you into going back home with her for the holidays.

you were completely against it at first and as you sat passenger seat of her handed down ford bronco, you still wondered if you'd be able to escape at all.

the idea of stop, drop, and rolling out the door tempting you with every passing entrance sign.

you weren't opposed to the idea because you just simply didn't want to go. in fact, if the circumstances were different, it would've appealed to you in every which way because the two of you grew up together: two blocks away from each other's houses.

ever since the two of you met in eighth grade when she had just moved due to her dad, joel's nasty divorce, y'all were practically joined at the hip. ya'll navigated through the most angsty parts of an all girl’s catholic school together and that included the insufferable amount of times spent at each other's houses.

you were around so much, joel even started to question if you had a house to go home to.

so, it wasn't the fear of overstaying your welcome during the break that made you resistant to the invitation. life simply didn't come that easy for you.

it was because of her sister, ellie.

where there was a sarah, resided an ellie and there was no duo without a trio first.

you could almost recount the day you first met ellie. every minuscule detail still etched into the surface of your mind. she had long, uneven auburn hair that she ended up cutting herself.

it sat funny on her shoulders and she shot you a toothy, power chained grin every time the two of you made eye contact because she just so happened to do something that once again, perpetually got her another weekly.

she had a tomboyish charm and you knew then at the brutal age of 14, you were in for it. your crush worsened when you found out sarah was her sister. they looked nothing alike so it caught you off guard completely.

you were spending the night for the first time and y’all talked for hours the moment sarah fell asleep. ellie took the chance to sneak up on you, due to sarah’s inability to shoo her away from her best friend because she hated sharing you.

you learned that her favorite dinosaur was the dimetrodon and she wanted to play the electric guitarist in a band whenever the stars aligned her to.

ellie stuck around and the friendship between the two of you inevitably brew leading to a puppy love, slow burn relationship that flowed into your senior year.

but good things never lasted because every high has its lows and with ellie, the lows seemed to outweigh the good.

the two of you were going strong for a while. ya’ll were as in love as two clueless kids could be and your thoughts were set in stone that nobody or nothing could’ve taken ellie away from you. your ellie.

you were so sure that the two of you even planned to move out together after graduation. ya’ll didn’t have the slightest clue what ya’ll were going to do.

maybe ride up to seattle and get a cozy studio apartment that fit the two of you just right and maybe even get a cat too. a ragdoll cat, specifically.

being two broke teens with big dreams, ellie ended up snagging a job at the local vinyl shop. everything was perfect. ya’ll were perfect.

then, just as you reached the highest peak, you felt the firmament above your head shatter, shooting you down back into the earth’s core.

2 months into her seemingly great job, she met catherine- or cat, as the two of you called her. cat was the ideal cool girl. she was littered with tattoos she did herself and played in a garage band with her friends every saturday.

she seemed so… ellie. at first, you brushed it all off. you met cat when you attended an underground show her band hosted, because she invited the two of you come watch them perform.

it was a no doubt that they were amazing. the crowd went wild for them and for the first time when you looked at ellie, you witnessed a sense of sureness written over her features. she wanted to be on that stage with them. it was everything she ever dreamed of.

the crowds, the sense of belonging, everything about it was just so ellie.

but then as time passed, ellie began spending more time with cat. you wanted to be a cool girl about it and not come off too strong, or insecure. so you let it go. that was until you barely began to even see your girlfriend because she was spending time with cat and her band.

some days, you wouldn’t even find out why she wasn’t returning your texts, until after she got home from being with them.

you grew tired and fights began to subdue. eventually, ellie grew mean and you grew passive and angry. unheard.

but it was only because you were afraid of losing her. she was your ellie and the thought of that ever changing set a flame in the pit of your stomach like nothing ever did.

because of a lack of reassurance the flame didn’t wane down. it grew and grew, shooting embers until everything the two of you built went crashing down into a pile of ash.

you knew that your ellie, held no recognition in your heart anymore. the ellie you grew to know was cruel and left without a trace led back to her.

tags: @bready101

[yannaryartside]

CARMY NEVER WANTED TO CREATE A MENU WITH SYD.

AND WHY THAT IS THE CORE THEME OF THE SHOW

PART 1: THE LIE THAT CARMY BELIEVES

So, one of the bases of creating an efficient character arc is to give the character something they want, and something they need. In the pursuit of getting what they want, the theme of the show and obstacles will show them what they need. Most of the time, they need healing from an emotional wound that prevents them from growing into the ultimate version of themselves, capable of winning the challenges of the story. I will try to explore Carmy's wound and, more importantly, the lie that created that wound.

In 'The negative trait thesaurus" by Angela Ackerman and Becca Puglisi, it reads:

"Wounds are often kept secret from others because embedded within them is the lie-an untruth that the character believes about himself."

When I started therapy (disclaimer: this is not professional advice; I am just talking from how I interpreted all of this), I was introduced to the concept of "limiting beliefs:" lies we have told ourselves about our own nature or the nature of the world. The most difficult beliefs to leave behind are those established in our early childhoods, and we told ourselves those lies to make sense of the world, to make peace with realities we were not equipped to comprehend yet. 

Some examples of lies people belive:

"I am too stupid to learn anything; my teacher said so" "It was my fault that I was molested." "I am a bad person for wanting a different life."

When people believe these lies, they will act accordingly, maybe attracting situations that hurt them but keeping the lie active in their lives. They may self-sabotage or create bonds with people who also believe the lie, even if it doesn't seem this way. 

In some cases, people may develop complete personalities or behaviors to prove the lie wrong, but deep down, they still believe in the lie. Carmy falls into this last category. This is where we find the most contradictory parts of his personality, how he can act shy and insecure in some instances and appear confident and even aggressive in others. 

Long post underneath.

THE RESENT OF A MOTHER:

We can only assume here because I think Storer is gonna let us know more about this soon, but I think I got an idea of this wound when I saw the only moment Carmy was alone with Donna on "Fishes."

I have a lot of things to say about Donna herself, but let's begin with the obvious: the conversation in this scene had little to do with the dinner itself. This was a woman stating that she felt alone and not valued, probably due to being abandoned by her husband and having to overwork herself at the beef to support her 3 kids, all while being a single mother. We don't know if this feeling of abandonment is something she has carried since childhood, but in the state of current womanhood, it wouldn't be uncommon. The work of women (especially mothers), particularly the emotional labor, is rather invisible and not valued at all.

But again, this is something she has used as fuel to resent her kids, who, at the end of the day, didn't ask to be here. Her anger has to go somewhere since she cannot direct it toward the people that ctually caused it. To get to the point:

THE BEARZATTO SYBLING DYNAMIC

Carmy said, "You are not alone; I am here with you." (This kind of comes back to telling Syd she was not alone at the end of the season.) This scene is about a kid trying to communicate to his mother that he loves her and trying desperately to connect with her, to get her to express her affection for him as well.

It tells me that growing up, he felt like he had to "earn" her affection. Donna likes to make her kids feel guilty about her unhappiness, so the kids feel that they are constantly walking on shells because they think their mother hates them, or at least that she resents them and that it is their responsibility to fix it.

In the scene, Carmy asked,

"What is so hard, Mom?"

I think what he was actually asking is, "What is so hard about being with us, to love us? What did we do to you that made you resent us this way?" He is asking because he wants to know, to finally understand. Why do you drink, Mom? Why do you yell? Why do you say such hurtful things?

When she answers, "Nobody makes things beautiful for me," you can see in his face the disconnection. He knows he can't do anything about that.

Then, a crucial part in the scene occurs when Donna calls him "Michael, " which indicates that the only one of her children who could make her feel happy was Michael, or at least that is how the other two kids felt. You can see the hurt in Carmy's eyes in the scene because this answer dismisses his effort to connect to his mother in his own right. She asks him to just leave. He offers to wait to connect with her. Then, it comes to the most chilling moment on the scene, the "we have a problem" using his full name, with resentment in every word. She hugs him while crying, kisses him, and then slaps him.

This is rejection. There is a book called "The Five Wounds of the Soul": wich are Rejection, Abandonment, Humiliation, Betrayal, and Injustice. I think Carmy's wound is rejection, for never earning his mother's love, particularly comparing himself to Michael.

Michael took responsibility for the Beef, finally giving their mom a break. It was Michael's job to make sure everyone was having a good time, to compensate for the discomfort that caused being in Donna's presence, to make sure all of them stayed as a family, which was Donna's intention, so Michael thought he had to make that happen for her. Therefore, Michael is the only one of her kids who succeeds and makes her happy. We know Donna rejects Natalie and Carmy. About Natalie, we can write another whole essay.

THE LIE THAT CARMY BELIVES

According to this scene, I think Carmy thinks that her mother didn't love him because he is not Michael; in fact, he is the most "not like Michael" someone could be. He was shy and stuttered and didn't have friends or girlfriends, comparable to Michael's ability to control every room he was in. Carmy was sensible and no macho alfa as Michael presented himself to be. Carmy left home and the family business, and both Michael and Donna expressed that they feel like he thinks he is better than them. Michael admitted later to admiring Carmy's work in Copenhagen, but Donna never did. carmy grew up having to live with the crumbles of Donna's attention that Michael left behind, wondering every day what was so wrong with him that made her reject him, and wondering what he could do to change that.

The lie that Carmy belives, could be sumarize this way:

I need to earn people's love. I need to always go the extra mile, doing the most possible at all times to earn people's love.

This all goes back to his trauma with Michael. It goes back to his career as a chef and how he became the best. He didn't need to succeed on a larger scale in the culinary industry to earn Michael's respect and love; he needed to be the best in the world, so he did that. He judges his own social abilities, comparing them to Miachae's. He left that promising career only because of Michae's death. He got the girlfriend Michael wanted for him (not saying it was the only reason, but it was there).

PART 2: WHAT DOES ALL OF THIS HAD TO DO WITH SYDNEY?

Well, what does a person who feels they always need to do the most? They do the most. I want to bring you back to the moments Carmy had to develop menu ideas with Syd on s1 and s2.

When Syd suggested items for the menu in s1, he gave her an inconclusive, not enthusiastic "maybe."

When she had to actually cook the thing for him to approve, he tried to make her feel small about it. He felt the need to remind her that she was "impatient and green," according to her previous bosses. He commented about her possibly ruining the flow by using time to cook her recipe. Yikes all around, but the core here is that he was treating her like an enemy, like competition, while she was trying to save the restaurant with what they had on hand to use the most efficient solution.

Then, when Carmy tries the dish and feels stunned by it, he has to make an ambiguous excuse on the fly and just finishes every chance of them using the recipe by saying, "is not ready yet"

And what does he do next? He goes to show the crew a recipe that is extremely complicated for the level they are operating at currently—they said so themselves. I think the recipe is a variation of Donna's butter chicken recipe. To put a nail on that coffin of his intentions to earn her love and approval at the end of it all.

But why does he do all this? Because he needs to be the hero, subconsciously, he is still that small kid begging for acceptance and love; he must go the extra mile. He cannot accept Sydney's help and partnership, because that will take away from him earning what he wants on his own merit.

In S2, he seems unenthusiastic about starting the menu in the first place. Then Claire comes along, and he tries to make it work with Syd and the menu, but I think he subconsciously thanks the universe for not having to go to his core wound. That is what self-sabotage is. That is why he bailed on the food tour with Syd, using such a stupid excuse as helping somebody else move out and never mentioning it again. He never asked her what she liked or what ideas she thought of. For most of the creative process, Syd is alone, working on her own creative crisis. The menu ends up being like two recipes they made in collaboration and then all of his family's traditional recipes. It is two of Syd's recipes and the rest of Carmy's. Then, desserts Marcus did on his own. The collaboration was superficial at best.

All of this creates the core theme of the show. The Bear was once a chaotic place (like their childhood home) that needs to evolve into an efficient, peaceful place built on love, support, and mutual collaboration like a functional family should be. Sydney is the member of this found family that forces Carmy to confront his core wound and learn he can actually be good enough while still accepting help. Therapy probably will play an important part in this theme, alongside with Carmy learning there was nothing wrong with him in the first place, that earning your parent's love is not something a kid can do.

Thankyou for reading. Gif and images are not mine.

[fairyhaos]

How To Fucking Write: a guide by fairyhaos

[masterlist]

this post details:

DIALOGUING INTERESTINGLY

hi gays and gals! the first post on starting and pacing a story did really well, so "how to fucking write" is back, with yet more advice and tips for everyone ^^ please feel free to let me know if there's something you want me talk about, because i'll be more than willing to see if i can help. also a reminder that i have a taglist for this series as well, and please reblog if you find this helpful :)

# - HOW TO DIALOGUE.

.. bullet point one : grammar

okay guys, as a native english speaker, i'll be the first to tell you that this language fucking sucks in terms of its grammar, but when it comes to dialogue, understanding how it works even to some extent will help you branch out and vary the way you write dialogue, which makes it so much more interesting.

with dialogue tags (said, asked, etc) if the punctuation mark in the dialogue is not a ! or ? then it should be a comma.

example : [junhui + castle]

as you can see in the first line, a comma is used rather than a full stop, because the sentence hasn't been finished yet. there's a dialogue tag, ('you correct'), that comes after it. and since the pronoun 'you' isn't a proper noun (i.e. a name) then it shouldn't be capitalised, because, again, the sentence hasn't been finished.

with action tags however, (he smiled, he stood up, etc) then it should be a full stop.

example : [i just made one up bc i don't use this a lot lmao]

"I disagree." He stood up, and walked over to close the door. "This isn't safe. You shouldn't go alone."

and now, since there is a full stop, it indicates that the speech is a sentence all by itself. that means the next word ('He') ought to be capitalised.

but the key part when grammar-ing dialogue in order to make it interesting depends on where you put the action and grammar tags.

if you constantly have lines that are just:

"dialogue," he said.

"dialogue," she said.

"dialogue but a bit longer," he said.

... then it can get repetitive, and annoying. by varying your dialogue structure, it can create more interesting dialogue.

example : [minghao + password]

there's a variety of dialogue and action tags being used with each line of dialogue, preventing everything from sounding too repetitive.

the first line starts with a normal sentence, and an action tag. the second is a standalone line of dialogue with no tags. the second has the action tag in the middle of the dialogue. and the last has a dialogue tag in the middle of the dialogue.

by varying the ways in which you write your dialogue, it makes everything a lot more interesting.

.. bullet point two : verbs and adverbs

the easiest way to make dialogue interesting, though, is to use fancy words.

this can be by replacing 'said' with a range of other dialogue tags (see this really comprehensive list for a whole variety of different words), but i'd advise against overusing these. 'said' is your friend! it's the invisible dialogue tag, helps your reader read through your dialogue in comfort, but of course, if you wanna add a nuanced way of describing the dialogue, then replacing 'said' is the easiest way to make your dialogue interesting.

but don't overuse these. for me, i'd focus on action tags and adverbs.

use interesting adverbs that add description to how a character is saying something can go miles. and using action tags that break through what could have been a long section of characters just talking? it helps so much.

i'd recommend having onelook thesaurus open as you write. you don't have to type in just words: phrases, the overall vibes of the word you're thinking of, all of that can be typed into the thesaurus and they'll provide you with pretty good results each time.

it also really helps when you've forgotten a word and can only remember vague bits of what the word should feel like.

.. bullet point three : voices

the best way, however, is ultimately to create a character. write a personality for them, bring them to life, think about the way in which they would talk and then put that down onto paper.

it's difficult, perhaps the most difficult to do, because it's also so tricky to advise someone on how to do this. it's all about the character you want to create, the personality you envision for them, and the only person who can fully write that is you.

however, i would find a few 'ticks' of theirs and use them as indicators in your writing.

for example, in my seoksoo long fic, seokmin's tick is that he always "chirps" what he's saying. and beams. a lot. this identifies his character, makes him unique(ish), and establishes his personality and differs him to the other characters.

but ultimately, it comes down to word choices, when you're writing a character voice.

like, your character describing something with elegant, floral language vs them going "this is so pretty". or perhaps making them stumble over their words when they're panicked vs them simply just going silent when they're flustered.

it's about being specific. about making choices with your words that would have english teachers analyse and unpick your writing, hundreds of years later.

(even if it's fanfic. especially if it's fanfic: because who knows how many fans may join your fandom in the next few years?)

... and that's it ! if anyone has anything else they want advice on (how to structure, how to write dialogue, how to plan etc) then just shoot me an ask, because i'd love to help however i can :)

tagging (comment/send ask to be added!): @selenicives @stqrrgirle @weird-bookworm @eternalgyu @blue-jisungs (tough luck guys btw but youre gonna be tagged in this entire series ehehehe)

[katakaluptastrophy]

What do Captain Deuteros, the Princesses of Ida, the Baron of Tisis, the Lady of Koniortos Court, the Duchess of Rhodes, the Master Templar, and the Reverend Daughter all have in common? They almost certainly own slaves.

Ok, not "slaves". As I'm sure Housers would be the first to tell you, they do not have slaves. Gideon herself explicitly establishes this in chapter one:

I’m indentured, not a slave.

But functionally, what does that mean?

We don't get a definition of what Gideon means by a slave, or how this word is used in House (do the Houses also have slaves? Are slaves something other, uncivilised people have in the benighted darkness beyond the light of Dominicus and the empire?). Gideon is an unfree person who is subject to violence and exploited for the financial gain of her masters, but it means something to her that she is not, in some economic or legal sense, a slave. So what is an indentured servant?

Gideon's status is referred to using several other terms over the course of GTN, primarily by Silas Octakiseron. While Silas is not an unbiased commentator, it's interesting that his objection to Gideon is not just because she's Ninth, but because she has usurped her social position:

“Thrall,” said Silas. “Serf. Servant... Villein,” continued the necromancer of the house of the Eighth, warming to his thesaurus. Colum was staring at Gideon, almost cross-eyed with disbelief. “Foundling. I am not insulting you, I am naming you for what you are. The replacement for Ortus Nigenad, himself a poor representative of a foetid House of betrayers and mystics.”

We don't know the exact connotations of these words in House. But a "serf" historically was a sort of feudal peasant tied to the land of a manor. Unlike a slave, a serf usually couldn't be bought or sold as an individual, but could be transferred wholesale with the land. Generically speaking, serfdom involves a tie to the land, an obligation to generate income/goods for the feudal lord of the land through labour and/or rents, and a lack of freedom of movement. It could be from birth or a voluntary indenture.

The contextual information that we get about Gideon's status backs up this very feudal image:

Gideon is, as Crux repeatedly reminds her, in some way the property of the Ninth. She wears a security cuff, and her attempt to run away is described as theft and misuse of House goods. In a typically House way, it is not just that she owes them her labour - she owes them her body once she dies. (What's interesting is that this part isn't specifically tied to her status as an indentured servant, but it fundamentally colours how it is understood in world.)

"You talk so loudly for chattle, Nav... You chatter so much for a debt. I hate you, and yet you are my wares and inventory."

Crux is Harrow's seneschal. And it would seem that at least on the Ninth, this role is very much the same as its medieval feudal equivalent: the official in charge of the management of the estate's goods and labourers.

Gideon is a legitimate subject of violence in House law: Harrow talks about how it would be "master's sin" if she "employed unwarranted violence" against her. Which means that some degree of violent punishment of indentured servants is legally permissable.

She is meant to be a financially useful asset: regulations exist governing indentured people joining the military, where they can generate revenue for their House. However, Harrow warns Gideon that "the Cohort won’t enlist an unreleased serf" - because the movement of a serf is at the discretion of her Lady, not something over which she has free choice.

The description of how Gideon came to be of the Ninth is particularly interesting in shedding some light on the institution of indenture in the Houses:

The Ninth had historically filled its halls with penitents from other houses, mystics and pilgrims who found the call of this dreary order more attractive than their own birthrights. In the antiquated rules of those supplicants who moved between the eight great households, she was taken as a very small bondswoman, not of the Ninth but beholden to it: What greater debt could be accrued than that of being brought up?

Medieval serfs too had no freedom of movement; they required a license from their lord to spend extended time away from the manor.

It's easy to forget, when the Houses themselves likely range in scale from the size of Los Angeles to Aotearoa New Zealand, that legally they seem to understand themselves to constitute feudal households. Those born in each House are part of - or in some cases it would seem, property of - the House. We see discussion in the Sermon on Necromancers and Cavaliers of the heirs of cavalier lines being traded between Houses for political capital. Necromancers, meanwhile, are apparently such a political or reproductive asset that they are usually not allowed to marry outside their House. Obviously, these are examples of people at the top of House society, whose movement brings with it political power, or financial assets, or reproductive capacity. Where does that leave a more ordinary person who lacks those desirable assets? It would seem that they can be their own asset, granted access to another House on a debtor's bond - it's not clear in the House context whether this is typically an exchange of people already debt bonded to their House, free people entering into such bondage to secure a right of passage to another House, a combination, or something else entirely.

But it speaks to a much more ancient understanding of how people are tied to lands and lords, alongside the Houses' very different attitude to the value of human lives:

“You’re no slave, but you’ll serve the House of the Ninth until the day you die and then thereafter"

One could infer, since we've encountered nobles and serfs, that the Houses have something akin to a three-tier system like many historical European feudal systems, with nobles, freedmen, and serfs.

The medieval European feudal system was primarily a function of the management of land - serfs and freedmen's statuses were a result of their relationship to obligations to the land - requirements of work, or rents to their lord, who ultimately controlled and profited from that land. This is where the tricky difference between serfdom and slavery tends to arise.

But the Houses are not a European medieval feudal kingdom. They are not, presumably, a primarily agrarian economy. So what use might such bondspeople be? What does that society look like, outside of its highest nobles investigating each others' murders and its strangely incestuous demigods?

There must be some agriculture and industry. Given the trying conditions of living in inhospitable space environments, that there might be some class of labourers fundamentally tied to their Houses, perhaps initially stemming from the order or situation of their ancestors' resurrection, isn't impossible to imagine (after all, ruling families and cavalier lines also trace their status from the Resurrection). From the information about the rules governing movement between Houses, perhaps there are also people living in dire conditions on remote moons willing to sell their freedom for a chance at slightly better conditions, or a new start in a different House. Most Houses do not have the necromantic capacity to create skeleton constructs on a scale to manage most of their labour - in The Mysterious Study of Dr Sex, it's clear that the Sixth has a finite supply of skeleton constructs that they would require Ninth input to overhaul. We have to assume most labour on most Houses in human, and some portion of it at least in some way unfree.

But the Houses are a spacefaring society with a large, centralised military and an economically complex empire. It does not function entirely like a medieval kingdom, however much it may sometimes look like one. Much of its imperial structure seems to be on a much more 19th or 20th century model.

And the Cohort is one area where we can see some non-medieval, but awful implications to the Houses' practice of serfdom. Consider the commission that Harrow offers Gideon:

It purchased Gideon Nav’s commission to second lieutenant, not privy to resale, but relinquishing capital if she honourably retired. It would grant her full officer training. The usual huge percentage of prizes and territory would be tithed to her House if they were won, but her inflated Ninth serfdom would be paid for in five years on good conditions, rather than thirty.

Gideon is not being promised as canon fodder - this is a promise of officer training. And yet, Gideon is a serf - and that officer training would be an investment in financial returns from her involvement in the bloody machinery of empire.

How many people in the Cohort are not free? Are serfs released from their usual obligations in the House to which they are debt bonded to instead generate income for their House on the battlefield or die trying? What proportion of the Cohort are functionality enslaved children, sold a dream of glory by smutty comics and released by their Houses because their eventual deaths will be more profitable to their Houses than their labouring lives?

And fundamentally, if the Houses are in some way substantially reproducing aspects of medieval feudalism, there's only one person who can be responsible for that...

[3motionally3xhausted]

BNHA girl's redesigns

(pt.2)

Thoughts & Comments under the break. I always make a lot of small, conscious decisions when redesigning characters so I hope it's interesting

PS I do intend to do the other half, I just didn't like my original sketches so I'm restarting :)

Tsuyu Asui (Froppy)

I wanted to give her kind of a baggy jumpsuit that would accentuate her lanky posture. I struggled slightly in giving her frog motifs, but I eventually put together the liminal spots, the shape on the rim of her gloves, cap & goggles, and the translucent sleeves. All of them together make her costume look rather frog-like I think, and of course the frog toes on the boots. Also, the twin braids just felt right for her character, as well as her freckles.

Momo Yaoyorozu (Ms. Architect)

Obviously, Momo's hero costume is the most problematic of the canon designs, so this is my take and I'm actually really proud of it. I also renamed her because I think most of the girls' hero names are a bit... simple, cheap, and uninspired. (Especially compared to most of the guys') I chose Ms. architect by using thesaurus for the word "creator" since an architect is someone who plans and makes things, it's also much more respectable.

Honestly it's kind of a simple design but I think it suits her in a way. It has a red top that's cut low in the front and back, especially since we rarely see her use her quirk from her stomach. Then she has shorts that reach just above her mid thigh, with an apron over it to carry, pens, her notebook, and a measuring tape to help with her quirk since she has to understand the structure.

Ochako Uraraka (Uravity)

It's hard to tell with the pose I put her in, but I mean for her to be tall and thin/lanky, like someone who runs track, mainly to give the sense that she's light (which is more obvious in the design sketch.) I made her slightly tan with a bit more ginger brown hair in a longer bob simply for some variation and I like it. For her costume, I wanted it to vaguely resemble an astronaut for the space/gravity theme. I also absolutely had to get rid of that line that goes down her crotch bc it makes me uncomfortable.

My original sketches to work out the designs---I did do some reworking on the final, but for the most part they're the same. Also you can see the varied body types better here than in the posed drawings

[wuffgang-ameowdeus-moozart]

lucy loves playing scrabble with team natsu bc while they were all busy being enslaved or failing at avenging their parents or being raised by dragons and shit like that she was reading the entire thesaurus back to back on repeat

sometimes she even invents nonexistent words, just for funsies. gray is onto her but natsu is so ride-or-die for her that every time gray dares to question her honor or even allude to her cheating ways it devolves into a brawl, successfully distracting from her (indeed very much) questionable honor and cheating ways - if it doesn't just end the entire game alltogether lol

levy starts keeping count of how many words lucy just pulls out of her ass. she has a whole-ass betting pool going. (she and lucy are in cahoots and split the wins 50/50, though they avoid winning too often in order not to awaken suspicion)