A Surplus of Octopodes

Tig, Tag, Tog. You're it.

2,038 notes

copperbadge:

ironfries:

kiran wanted oblivious tony and villain steve

it kinda turned squishy o Ao; im sorry.

Title: Solarium
Rating: PG-13
Warnings: Violence, gore, extreme dysfunctional codependence, murder
Summary: If people would just stop making problems for Director Stark, Captain Rogers wouldn’t have to beat them to death. 

PLEASE note the idea is not mine — it comes from ironfries, via askjxc who suggested the premise in this comic.

***

Steve heaves a breath in and then a breath out, annoyed by the rattle of it in his throat. He swallows, calms himself, breathes again. It’s always worse when Tony’s been busy, the grate of everything on his nerves — the murky air of Manhattan, even the marginally cleaner air of Brooklyn, the voices of strangers, the way people dawdle and get in his path and make things difficult and distract Tony so that Steve gets less time with him, less attention, less quiet in his head.

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1,762 notes

zeeewa:

i always thought the gayest thing about these two, canonically, no matter what i have seen and will ever see, i will always think them beING FUCKING MARRIED IN AN ALTERNATE UNIVERSE, AND THE FACT THAT THE ONLY THING THAT IS DIFFERENT IS THAT ONE OF THEM IS A GIRL, IS THE MOST HOMOSEXUAL THING EVER LIKE SERIOUSLY I JUST so i made a thing about it

omfg this took so fucking long and my hand might actually be crippled forever but it was kinda fun??? i just really hope it’s understandable!!!

(via ironfries)

2,456 notes

dukeofnachos:

qouinette:

It must be horrible, to suddenly have somethingskewered to your chest and moreover for that thing to glow so bright. i think Tony didn’t have any problem with brightness before, because he often slept with lights glaring around him but this, the arc reactor glows from within
so he couldn’t sleep for days after Afganishtan because of the light. so he mocks himself as a ‘walking flashlight and every head turns to me' and what a freak he is now, with a glowing device in his chest for every person to see!
 Laying down in his workshop’s floor at 3:28 AM, Tony bunches up the blanket to his chest, tries to cover the cursed light, ignoring Dummy’s concern wheer behind him and pretends there is no blue light radiating from his chest

It must of been terrifying when it was gone. After Afghanistan, after Obadiah, he gets used to it. It is his greatest weakness, and because he’s Tony stark, that means he shows it off like a trophy. He has nightmares about Obie taking it right out of his chest, but when he wakes up, it’s still there, a shining beacon telling him that he’s alive.
But then he gets it removed, and it’s good for him, except for when it’s not. The good news it that his chest is free of shrapnel. The bad news is that everything is too dark. His chest doesn’t shine through his shirts anymore, and he needs actual lights on to do things, and he doesn’t know what to do with that.
It’s 3:28 AM when he wakes up in a cold sweat from a dream of his heart being ripped from his chest, he’s gasping, nearly crying, eyes desperately searching for something, anything to tell him he’s safe. There is no light to reassure him. He struggles to remember where he is on his own.

dukeofnachos:

qouinette:

It must be horrible, to suddenly have somethingskewered to your chest and moreover for that thing to glow so bright. i think Tony didn’t have any problem with brightness before, because he often slept with lights glaring around him but this, the arc reactor glows from within

so he couldn’t sleep for days after Afganishtan because of the light. so he mocks himself as a ‘walking flashlight and every head turns to me' and what a freak he is now, with a glowing device in his chest for every person to see!

 Laying down in his workshop’s floor at 3:28 AM, Tony bunches up the blanket to his chest, tries to cover the cursed light, ignoring Dummy’s concern wheer behind him and pretends there is no blue light radiating from his chest


It must of been terrifying when it was gone. After Afghanistan, after Obadiah, he gets used to it. It is his greatest weakness, and because he’s Tony stark, that means he shows it off like a trophy. He has nightmares about Obie taking it right out of his chest, but when he wakes up, it’s still there, a shining beacon telling him that he’s alive.

But then he gets it removed, and it’s good for him, except for when it’s not. The good news it that his chest is free of shrapnel. The bad news is that everything is too dark. His chest doesn’t shine through his shirts anymore, and he needs actual lights on to do things, and he doesn’t know what to do with that.

It’s 3:28 AM when he wakes up in a cold sweat from a dream of his heart being ripped from his chest, he’s gasping, nearly crying, eyes desperately searching for something, anything to tell him he’s safe. There is no light to reassure him. He struggles to remember where he is on his own.

(via qouinette)

14 notes

marielikestodraw:

Sometimes I’m so tired of having too many quirks and not enough normalcy. What is normalcy you ask, what the fuck is it, it’s offending to even use it as a concept.
But it just feels like my thoughts and needs are very complicated, and I wish there weren’t. Most of the time I’m just happy to be a peculiar human, and sometimes I want to hit my head against the wall for it.
Whyyy.
/random

99,620 notes

Writing Advice: by Chuck Palahniuk

In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.

From this point forward—at least for the next half year—you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.

The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.

Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”

Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”

Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.

Instead of saying: “Adam knew Gwen liked him.” You’ll have to say: “Between classes, Gwen had always leaned on his locker when he’d go to open it. She’s roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her butt. And the next break, Gwen would be leaned there, again.”

In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.

Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later). In a way, they state the intention of the paragraph. And what follows, illustrates them.

For example:
“Brenda knew she’d never make the deadline. was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”

Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.

If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.

Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.

Don’t tell your reader: “Lisa hated Tom.”

Instead, make your case like a lawyer in court, detail by detail.

Present each piece of evidence. For example: “During roll call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just as Tom was saying, ‘Here’.”

One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.

For example: Waiting for the bus, Mark started to worry about how long the trip would take…”

A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”

A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.

Oh, and you can just forget about using the verbs forget and remember.

No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”

Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”

Again, Un-pack. Don’t take short-cuts.

Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and words show their thoughts. You—stay out of their heads.

And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”

For example:
“Ann’s eyes are blue.”

“Ann has blue eyes.”

Versus:

“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”

Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.

And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”

Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.

(…)

For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.

Then, pick through some published fiction and do the same thing. Be ruthless.

“Marty imagined fish, jumping in the moonlight…”

“Nancy recalled the way the wine tasted…”

“Larry knew he was a dead man…”

Find them. After that, find a way to re-write them. Make them stronger.

(via 1000wordseveryday)

(Source: wingedbeastie, via joannaestep)