The thing that always gets to me about this is how incredibly intimate that line is on Erik’s part. The intimacy makes sense on Charles’s side - unforgotten and I just had a twitter conversation earlier in the week about one of my favorite tropes, which is how Charles fell in love instantly, not even at first sight, but first touch of Erik’s mind (the realization that that beautiful mind is also super hot wetsuit dude is just a bonus) - so Charles is already full in, but Erik isn’t. He doesn’t know this guy, and the rest of the scene he’s angry and frustrated and obsessed with Shaw. So this moment is just, yeah, so INTERESTING.

(Also related to that conversation: discussion of mostly likely first time for them to have done it. I generally default to road trip, because I find it easier to believe for Erik after the “What do you know about me?” “Everything” scene. But I can totally believe any time - right away, road trip, mansion, not until after post-beach - in the right story, and I really have not read enough stories where it does happen right away. Definitely a niche that needs more filling.)

♥ to all the above.

Me, every time I see this gifset, I just imagine Erik going his whole life thinking he’s a unique and terrifying monster, and then suddenly there’s a voice in his head that’s forcefully entreating him to live and save himself, and he surfaces to see this:


…this gorgeous, gifted, confident man telling him with every certainty, you’re not alone.

I can easily see them sleeping together right away. I can see Erik taking hold of Charles and touching him at first not so much with intent to get him into bed, but just to prove that he’s real.

(Source: kingleepace)

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There’s two types of anger one is dry and the other wet and basically wet anger is when your eyes water and your voice shakes and I hate that cause I feel weak when I’m crying while angry I like dry anger when your face is like stone and your voice is sharp I guess wet anger shows that you care too much and dry anger means you’re done.

This is the best description ever

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Captain America: The Winter Soldier | Gag reel

(Source: forassgard)

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i wonder how many people i’m in the “i’d be down if you asked” zone with

if this is you please let me know asap

if this is you please let me know asap

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Advice & Tips on Metaphor and Symbolism


While I do have a few essays and resources that would allow me to write something up on the theories of metaphors, I don’t find them that useful for application. So, instead, I am just going to describe a few processes that I do when I wish to add in some metaphors into my writing.

  • Sort By Character - The very beginning of my ‘metaphor construction’ process starts when I have created my character, or sometimes even during the midst of. For the purposes of explaining this, I am going to use one of my characters, who is called Saramil, as an example. Saramil is a young, wealthy member of high aristocracy, who works as a pastoral poet and social commentator to escape facing the prospect of inheriting his family’s (fairly boring, or at least he’d say so) land investment business. This kind of character naturally lends itself to images of gold and jewels, as obvious symbols of wealth, but what else can be taken out of these images?
  • Read Books With Similar Characters - While it seems to be every author’s goal to create a completely unique character, tropes and reoccurring patterns in literature are inescapable, but are necessary in the implementation of metaphors: established images make it more possible for readers to understand new creative metaphors, and are vital in forming conventional ones (an example of a conventional metaphor being “time is running out”). So, if you find a character in a book that is similar to yours in either goals or lifestyle, pay close attention to how the author describes them. Going back to the example of my character, a character that stuck with me was Daisy Buchanan from The Great Gatsby, and found the line “her hand was wet with glistening drops as I took it to help her from the car”. The idea of nature replicating a jewel had me come up with lines such as “dripping in cold gemstones” for my own descriptions.
  • Research The Object - What I mean by this is actually look into what you want to make a comparison with. So, say I want to use jewels as a reoccurring symbol for Saramil, my next step is to research jewels. Questions should naturally arise from this process: What kind of jewel? What colours? Does it have any historical or cultural context behind its symbol? If you are able to with the particular image in mind, try and get a hold of the actual item and look at it for yourself. After rummaging through my mother’s jewellery box and scanning through the catalogues of auction houses, I decided to align Saramil with the symbol of an opal, since these are jewels that aren’t one colour, and change with the light and perspective, just as I want his character to reflect. This also aligns quite nicely with Shakespeare’s usage of the symbol: in Twelfth Night, Feste tells Count Orsino that “thy mind is a very opal”, to refer to his easily-changeable mind.
  • Branch Out - Something I try to do with as many of my metaphors as possible is interconnect them. What I mean by this is, after I have my list of symbols for each character, I try to see what connects them together, with hopes that I can find something new. One example I have already included in this explanation: both raindrops and jewels are glistening, therefore the symbols can be simultaneously recognised by a reader. One of the most established focuses of symbolism in literature is that of light and dark. Light, as one of the first creations of God, is commonly linked to as goodness and purity, but it makes for a more intriguing read if one is to subvert established images like this. To do this, I linked the glittering light of reflections of gems with a gemstone’s physical coldness and lack of value to substance: gems are only worth their appearance, since they can be used for little else directly. With the wider imagery of “light” and “reflection” now attached to the character, lots of doors are opened for metaphorical possibility.
  • Don’t Delete Any Metaphors You Make - This is really a comment on all writing or artwork produced, but if you come up with a metaphor, but decide that you don’t think it fits your character, don’t delete it! Make a document for them, or keep them in a scrapbook if you hand-write.
  • If All Else Fails, Google - If you type in “[Insert Object Here] Symbolism” or “Symbols of [Insert Personality Trait Here]” into Google, you are bound to come up with results. Just be mindful of what you take as truthful in application of your character.

I hope that helps! I can’t say my writing ‘method’ is… Well, much of a method, but I tried to make the tips coherent. Happy writing!

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the abc’s of james mcavoy  → naked (well… mostly just shirtless but that’s still nice, too)

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Geschwister [German] : sibling

Let me list my Nightcrawler-Rogue Sibling Feels…

Yes, good. Faves. I love their screwed up little family. 

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can-ilearn-tobe-normal said: Is it possible to end a novel by the main protagonist giving up and walking away from the problem because she realizes she really doesn't give a shit



Anything is possible. The better question is, is it plausible?

If the ending is in line with her character development, have at it. I see no reason why not.


I once ended a story with char 1 swooning into char 2’s arms while char 3 panicked over the impending apocalypse and a guy who was mentioned in literally one line saved the world.

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where did this website’s sudden obsession with skeletons come from

From inside ourselves.

fcugn no first of alll;, you do not come into my house with your bullshit skeleton puns do u wanna fucking fite I could take like 5 shitty skeltons don’t test me

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