Averia

(just because…)

(all are completed)

Time Travel Fics:

In case of Blue Scroll (multi-chaptered) 

Looped  (multi-chaptered) 

Unbroken  (multi-chaptered)

The Hokage’s Wife 

if I could turn back time (multi-chaptered) 

at second glance (multi-chaptered)

when I see you again (multi-chaptered) 

the fletcher’s heart paradox (multi-chaptered) 

BECOMINGS AND NEVER WERES by @mouseymightymarvellous

time travel by @bouncyirwin​ (same story is turned into an ongoing multichaptered fic- The Story Of Another Us)

past present by @bluefurcape

Personal Favorites:

To grow a garden (completed) 

diet 

the hardships of being a godfather 

dream a little dream (multi-chaptered) 

nice legs

j'accuse  (multi-chaptered) 

shotgun wedding (multi-chaptered)

nanda ka sabishii desu (multi-chaptered)

desperate measures (multi-chaptered) 

hokage sama 

the summoning 

yellow moon 

cuddler

point of grace 

Three Years & Counting 

puppies and babies 

tardy to the party

hot cocoa 

Divine Intervention

his fault  (multi-chaptered) 

daddy 

what the future holds  

storybook  

what happens now (multi-chaptered)  

traditions  

sing (multi-chaptered) 

kakashi’s confession 

Christmas wish  (multi-chaptered)

You only live twice 

Kakashi’s one night stand (multi-chaptered) 

hey baby, I think I wanna marry you 

the confessional onsen 

falling through holidays  (multi-chaptered) 

how about now 

quintessential (multi-chaptered) 

and also reindeer 

Bedmates 

morning of a househusband 

puppy love 

one night is all we need 

kind of dating

kitten or leopard 

say it again (multi-chaptered

Burrow 

Enough 

why not? 

The Armchair

Banish 

Bundle 

tomatoed halloween 

a good day today

nostalgia 

more 

14 gifts (multi-chaptered) 

picture books 

Flower Crowns and ANBU

Don’t Let Your Guard Down 

There Will Be Time 

shinobi of the sand (multi-chaptered) 

A is for ANBU  

A Pair of Red Gloves 

nine lives 

green-eyed monster 

even a blind pig 

bargain 

rose tinted

ignore the innuendo 

star of silver, heart of tin (multi-chaptered) 

those three words 

in his footsteps  (multi-chaptered) 

ichor runs through my veins, painting my very insides gold (god’s flesh does not come without a price)

what it means to love

perspective 

Black Rivers 

chidori no jutsu 

pancakes 

I Don’t Believe You 

try something

take my past, take my sins  (multi-chaptered) 

the alpha male

matchmaker, matchmaker 

the old biddy  (multi-chaptered) 

the fine machinery of spring  (multi-chaptered) 

peeping tom

the downward spiral 

good boy

Out of Order

distractions (multi-chaptered) 

the scarecrow and the cherry blossom (multi-chaptered) 

the old razzle dazzle (multi-chaptered) 

best christmas of my years 

lace

Take My Past And Take My Sins

rushing silver water 

firelight 

kakashi’s boredom 

a wonderful vacation (multi-chaptered)

disease 

taut

someone that you’re with 

the dance  (multi-chaptered) 

hiding behind masks 

two pink lines  (multi-chaptered) 

improper suggestions 

Christmas party 

sweetness and surprises 

cinnamon lips 

Against You 

life informs life

thunder and lightning (drabbles) 

Coloring and Games 

11 ways to change a mind 

stargazing 

the 12  days of Christmas 

an announcement 

sabotage 

simple things (multi-chaptered)

A Game of Make Believe

My Bed is Your Bed 

Swapped 

Milk Teeth

Tender loving care 

An Elegant Christmas 

Quarantine and Chill 

the other fight

Beautiful, Perfect Disaster

Two Proposals With One Answer

Kakashi Go ChompChomp

Dimension Travel :   Invasion of Privacy

the other fight

Confessions

Something to Talk About

Three’s A Crowd (fight or flirt)

Strange

Domestic

Photographs of you

Icha Icha! AU:

icha icha star

icha icha fanfiction 

icha icha sakura 

Madam Sakura 

operation distraction 

icha icha made me do it 

Icha Icha Pirates 

as luck would have it 

The Home Computer 

unorthodox birthday 

a star is born 

icha icha hokage-sama 

little orange book 

The Princess Tsunade 

icha icha innuendo 

Nocturnal Activities 

Cat! AU:

The Cat’s curse  (multi-chaptered)

kitty no jutsu

and you’re gonna hear me roar

furball

it started with a jutsu  (multi-chaptered)

Same Age AU:

Mask Off, Santa Claus 

try something

It’s Useless if Not With You 

you are kind of weird…I like it 

always you

I wish

Finding You 

forgotten gift 

just a girl

limerence

when we were young

under the weather

summer storm

questionable intelligence

homecoming

love you little, love you long

roads untravelled

Smells Good to Me 

Code of Conduct 

Little Things 

Stay With Me 

same age by @murd3rm1ttens

Autumn by @ryekiree 

Modern AU:

a brief introspective of sunflowers

take a chance and roll the dice 

you’ve got my time, you are my plans 

you are now connected 

borrowing

alone with you 

drunken craigslist ads and fake dating 

cut to commercial 

the intimacy of being understood

the chemicals between us 

On a Leash 

neon city 

dear diary

classroom-by-laws 

what happens in suna (lasts forever) 

i wish 

Homecoming

unrequited 

Serendipity

roll a charisma check 

Lights Out

questionable intelligence 

love you little, love you long 

man’s best friend 

the interview 

Business as Usual 

You Again 

That Fine Line

clause number eight

three little words

Soulmates AU:

you know the tune, so words don’t matter

Knuckles

solemates

to keep a promise or two

make it holy

against fate

touch of fate

your most important person

the sweetest lies

total eclipse of the heart

listen closely

Dreams Are Made of This 

i’m here 

The Numbers of My Sins 

in another life

expected

soulmark

Like Smoke in Your Arms 

Amnesia AU:

mine

the empty heart 

curtain call

to come back to you

Hanahaki disease:

love stinks

all she ever dreamt of

Drunk KakaSaku:

the rewards of lying

drunken kisses

empty shot glasses

until morning

kakashi and booze

innuendo

settle into spring

forearms

lie 

slip of the tongue

failed memories 

gamble

it started with a bet

Kakashi’s Answering Machine

Strangely Familiar 

Simple Pleasures 

Party Favours

daddy’s little girl 

KakaSaku and Sasuke:

Better Man 

a brief introspective of sunflowers (multi-chaptered)

picking up VIII

unworthy

discoveries in oil  (multi-chaptered)

canonization

requests

downpour (multi-chaptered)

Kakashi Hatake: The Uchiha’s Rival in Love (multi-chaptered)

Henge Love (multi-chaptered)

skip a Beat

against the sky

another life (multi-chaptered)

Unbreak My Heart

Irrelevant

I Can’t Make You Love Me

Don’t Break Her Heart

Let The Truth Sting 

Fight For Love (multi-chaptered)

Sasuke Returns 

identity Crisis

Resolutions 

an unfortunate encounter

Twelve years

A Late Hour

An Honest Talk

Memories

Jealousy

Sakura blossoms differently every spring (extremely underrated)

Tagpuan

I haven’t ever done an article on in medias res in part because it’s been covered so much in the writing world already, what could I really add to it that you probably haven’t heard? Well, after looking around online … it turns out, quite a few things. I sometimes feel that in medias res gets misunderstood, and overused.

As most people who teach about in medias res will tell you within four seconds, “in medias res” is Latin that translates to “in the midst of things.” In some ways, this is pretty straightforward: Instead of starting a story with exposition or setup, you start with the action or conflict. Most people will cite that this will grab the reader and draw them into the story.

As someone who has read thousands of unpublished manuscript openings though, I’ll tell you that a lot of times, it doesn’t. But I’m getting ahead of myself, let me backtrack a bit (speaking of starting something in the “middle of things” 😉)

Back when I was a “young” writer, when the topic came up of how to start a story, it was often, if not almost immediately, followed up by talking about in medias res. “If you don’t know how to start the story, start in medias res”–I was told time and again.

So like many people, I thought that if I had bombs going off or someone dying in the first paragraph, that it would for sure hook the audience and get them to keep reading–and it’d be a great opening too!

Years later, when navigating submission piles, it soon became apparent to me that this often wasn’t the best way to start. I could only handle so many “bombs going off” (metaphorically or literally) and “war battles” (metaphorically or literally), and I could only handle them for so long … before they got boring. (And to add to it, often newer writers, in their efforts to make it “exciting,” make it unnecessarily graphic to the point of being grotesque.)

In contrast to what many people teach, in medias res can actually get rather boring within paragraphs or pages if it isn’t done well. Because in medias res means cutting off the exposition and setup, it also means cutting off the context. If I have no clue who to care about, how we got here, and why what is happening matters, it can be really difficult to get invested in the story. After reading several paragraphs of people being run through with swords, I start wondering, Why does this matter? And why do I care?

And immediately teaching about in medias res when someone asks how to start a story often isn’t a great way to teach how to start a story. After all–you’re actually cutting off the starting of the story.

Of course, like anything, beginning in medias res can be great when done well and for the right effect. But in order to do that, you need to understand how it actually works and what that effect is.

For starters, it’s helpful to not think of in medias res as only being used for story openings. You can use in medias res for any scene at any point in the story. So let’s talk about how this works on the scene level, and then talk about it on the narrative level.

In Medias Res in Scenes

Typically, a scene is defined as a unit of action that takes place in a single location and continuous time. But this definition is certainly not perfect and the boundaries can get blurry fast with the right examples. However, I think most can agree that a scene is one of the smallest recognized structural units in a story.

And all structural units–whether they’re a scene, sequence, act, or whole story–fit into this shape:

A scene will usually start with a hook and setup, followed by rising action (conflict), a climax, and a falling action. In some cases, some of these may be left out, but scenes almost always contain these things.

You can find slightly different approaches to scene structure from different sources.

For example, recently, I talked about scene structure according to Dwight V. Swain, who is famous for his approach. (In fact, his approach may arguably be the most famous.)

He recognizes two types of the smallest structural unit: scene and sequel (you can learn about them in more detail in “Scene Structure According to Swain” and “Sequel Structure According to Swain.”)

The scene is made up of three parts: goal, conflict, and disaster. And the sequel is also made up of three parts: reaction, dilemma, decision. But regardless, both still fit into the structure above.

In medias res means “in the midst of things,” so instead of starting with the hook and setup, you drop the audience right into the rising action, or in some cases, even climax. (And the conflict or climax often becomes the hook.)

The setup portion is used to ground the audience in the scene–it conveys when and where the scene takes place, who is in the scene, the character’s goal, may lay out the stakes, and if there are multiple viewpoint characters, will clue the audience into whose viewpoint they are in. (For more on all this and scene openings, see “4 Key Elements of Scene Openings.”) This orients the reader and gives context for what is about to happen. It gives meaning to the rising action.

When you start in medias res, the audience lacks this context.

In this way, beginning in medias res is a lot like writing a teaser, which also works off a lack of context. In a teaser, the whole point is to tease the audience through a lack of context. The teaser promises that if the audience keeps reading, they will get more context to understand what just happened. This is often a great way to use in medias res.

But just like a teaser, the audience won’t stick around if context is withheld from them for too long. Like me going through submission piles, they start wondering, Why does this matter? And why should I care? Teasers only work well when they are short.

So, when you start in medias res, the audience can only handle so much of being “in the midst of things” before getting antsy for information. Contrary to what many writing instructors might advise, I would argue that starting in medias res is often harder, because the writer must fill the audience in on everything they are missing–and they must do it sooner rather than later. And often for newer writers, this leads to big dumps of information, setting, worldbuilding, characterization, stakes, goals–and whatever else–in the middle of conflict and action. Or, it might lead to the dreaded flashback. This is a tough situation to be in, even for the best of us, because one small reason that stuff is in the setup is so it doesn’t clutter and kill the pacing of the conflict. It’s so we can focus on the conflict.

Sure, some context will be easy to squeeze into the rising action. For example, you can convey the viewpoint character rather quickly. In fact, you can slip in most information in a line or two if you are well-practiced. But the problem is, it’s often a line or two per thing: goal, character, stakes, setting, motive, and any other background info. That’s a tall order.

Now, with all that said, you may think I’m against starting in medias res. I’m not. I’m just pointing out how difficult it can be, especially for newer writers, and yet we are often telling them to do it. I mean, no wonder beginning writers have so many flashbacks and info-dumps in their openings–they’re being (indirectly) led to do that.

In medias res can work great in a few situations:

As a teaser: As stated above, starting in medias res is a lot like writing a teaser. The audience doesn’t know the full context, and that’s the point. The promise is that they will get more information if they keep reading, so instead of being drawn into the story because of the goals, stakes, and conflict, they are drawn into the story because of mystery, intrigue, and curiosity. The tone of the story is often conveyed, cluing the audience into what sort of emotions they can expect if they stick around. The audience won’t stick around for long without important context, so the scene either needs to be brief, or the text needs to start filling the audience in after teasing them.

The setup information doesn’t really matter: Sometimes how the character got to the rising action of the scene isn’t really important to the story. For example, a story may open with a sword fight in medias res, but the fight doesn’t really matter that much to the actual plot. It might instead be used to showcase the protagonist. Reading about a sword fight with no context can get boring. Reading about a sword fight told through a strong viewpoint character can be fascinating. And if he does a lot of sword fighting and is skilled in it, this might be an excellent way to illustrate that. You will of course still need to fill in some setup. But because the conflict itself isn’t vital, you won’t need to struggle explaining everything that led to this moment.

Other times the conflict does matter because the result kicks the plot in a new trajectory by affecting what happens next, but the setup isn’t important because it’s simple, mundane, obvious, or easily implied. It doesn’t really need to take up that space to set the stage. For example, say we have a scene where some kids are playing hide-and-seek in the woods and one finds a treasure chest. The setup (which would involve starting the game) may not be very important. So instead, we might start with the “seeker” already finding one or two kids. Finding the treasure will be the scene’s turning point, and change the direction of the plot as the kids decide what to do with the coins and jewels.

The audience already knows the setup: If you are writing about a famous event, such as 9/11 or Lincoln’s assassination, you may not need to include the setup–the audience already knows what led to the conflict or climactic moment.

Other than that, if the in medias res scene isn’t the opening scene, then it’s possible a prior scene already established enough of the setup. The audience knows the goal and stakes, the time and place, because it was stated or implied. So instead, we can cut right to the action.

With all this said, almost no scene requires you start in medias res. So rather than stress if a scene should start in medias res, ask yourself if starting in medias res is more effective for the story you want tell.

In Medias Res in Narrative Arcs

Because all structural units follow the same shape …

… you can essentially do this to the story as a whole.

The setup of a whole story covers about everything prior to the inciting incident. The inciting incident is a disruption that kicks off the plot of the story and is either a problem or an opportunity for the protagonist. The setup introduces us to the characters, setting, and establishes a sense of what’s normal.

 This literally saved my ass a few minutes ago. Yes, you can recover those files that you accidentally closed and thought you couldnt get back. 

Right after that happens, open Microsoft Word again and click File - Info - Manage Versions - Recover Unsaved Documents.

some pictures of my 2019 bujo ✨

2018 new years giveaway! and a thank you for 15k followers! (๑˃̵ᴗ˂̵)و

hi guys!! this new year i wanted to give back for all the love i’ve received so far :’-) thank you to everyone who stuck with me even when i stopped updating for a while and to all my new followers too! 

this is what you get!

leuchtturm1917 dotted 90 x 150 mm

muji A5 lined notebook

muji 5 pack lined B5 bind notebooks

muji sticky notes 30 x 10 mm

rhodia graph paper pad 5 x 5

2 muji 0.5 gel ink pens

2 hi-tec-c 0.3 gel ink pens

2 pilot light frixion highlighters (in pink and blue)

#991 tombow dual brush pen

3 cute sticky tabs

3 daiso key ring memo pads

pack of pink envelopes

5 mint envelopes

1 roll of mt washi tape (that i have and love!)

2 rolls of floral washi tape (i threw this in b/c i got more from my purchase on aliexpress!)

i’ll throw in other cute gifts like makeup and stickers too!!

here are the rules!

must be following me since this is for my followers :’-)

must reblog this post at least once! but please do not spam your followers!

likes work as bookmarks, but don’t count as entries!

you can also get an extra entry on instagram by following the how to enter on the giveaway post :’-)

will ship internationally !!!!

must be 18+ or have parents’ permission!

giveaway ends on february 4 at 12am PST !

the winner will be chosed randomly!!

THIS SHIT WORKS OKAY, I AM DEAD SERIOUS.

The last time I saw this on my dash, I didn’t think it would happen, so jokingly I wished I could go to a fun. concert.

AND GUESS WHAT, I WENT TO A FUCKING FUN. CONCERT.

I SAW THIS ON MY DASH THE OTHER DAY AND THOUGHT “ITS WORTH A TRY” SO I WISHED I COULD GET A 3DS

LITERALLY LIKE 4 DAYS LATER MY DAD SENT ME A PICTURE OF THE 3DS XL HE BOUGHT FOR ME WHILE I WAS AT SCHOOL

GUYS.

HE FUCKING CALLED ME 20 MINUTES LATER

20 FUCKNG. MINUTES. LATER.

By the time you realise that they can traverse water, it’s too late. The surviving members of your unit manage to make it back by shedding their excess gear and running for their lives; the slower ones were crushed to death within minutes.

You later describe the creature to one of the humans you captured, wanting to know the name of the monstrosity that will haunt your nightmares for cycles to come.

The human smiles as it speaks a single word, slowly and distinctly, in its barbaric tongue.

And at first you are, you’ve learned how to dodge. You’ve learned where their territories are. You know how to defend yourself.

But then one night you are sleeping in your shelter. You’re in a tree covered temperate part of earth. It seems benign. There are been no sightings of the dreaded “hippos” around. Not even any bears. But there is a slight rustle of the undergrowth. You try and ignore it telling yourself it is just the wind.

Then you hear the rustle again. closer this time.

You peer out into the darkness but see nothing amongst the trees.

The rustle again and now you realise you can smell something. It’s musky and slightly foul. It’s the smell of an omen, a warning. But what of? Where is this smell coming from.

You sit up, but it’s too late. The foul smelling creature is on you. You are hit with 17kg of coarse fur and vicious bites. Long dark claws tear in to you and you are pinned down white the striped creature tries to bite your throat.

It takes some doing but you manage to wrestle free. Blood drips from your wounds and already they itch with the sign of infection. The creature has a bloodied snout, rust rad, mingling with the black and white hairs. It lets out a terrifying growl from the back of its throat and looks to attack again. It’s between you and your knife, so your only choice is to back away.

Eventually the creature gives up and snuffles off in to the undergrowth, down a hole near your shelter you hadn’t noticed before.

When you make it back to your base you once again consult the captive human.

BAMrumblerumblethumpcrash!!!

Aliens: “What are they?”

Human: “Sounds like… Bees. maybe?”

Aliens: “Bees?”

Radio: *slightly panicked* “Alpha base, please report…”

Aliens: “The captives seem to recognize the life form as… What was it, again?”

Human: “Bees! :-)”

Alien: *With somewhat resolved tone* “…Bees.”

Radio: *Nothing but screaming and the word: “BEES!!!”*

Alien: “Well, human?”

Human: “…Savannah, I think.”

Alien: “A ‘Savannah’, according to the human. Is there anything else?”

Unit: “There appears to be another feral creature, similar to the ‘house cat’. It is watching from afar. Our scan indicates that it is most likely male.”

Human: “Is it a cheetah? I think it’s a cheetah.”

Alien: “It is called a ‘cheetah’. Proceed with caution.”

Until a man in a long brown coat and black glasses somehow made his way to Alfie’s work station.

“Our information tells us your locating beacons are still online.”

That was a rather cold greeting, but whatever.

“Sure they are” said Alfie.

“I work for … a certain organization … we have intrests in your work.”

subtle, Alfie thought.

“The Aliens are setting out for Iceland in a few days. We have a…collegue… acting as a guide on board.”

“So?”

The strange man grinned

“I need access to the real-time coordiates of every orca pod in the northern Atlantic”

Alfie picked up a small device from his desk and threw it at the surprised man.

“Been making this in the last months, since, y’know, no government grants to tell me what I should be doing. You have access to data for orcas, whales, even some polar bears. Sea lions. That sort of stuff. Have fun.”