you set my soul on fire

but then i have otps

give me shared inside jokes that date back to wayyyyy before a first kiss was ever shared. give me living together with separate bedrooms until one of them gradually becomes unnecessary. give me confused reactions from people who already assumed the two of them were dating. give me arguments over what counts as an anniversary because should we start at the date we met or the date we became friends or the date we got over our stupid selves and finally started kissing.

give me stories that show the line between friends and lovers is a really, really thin one - that appreciating the friendship that two characters share doesn’t mean you can’t ship them really damn hard too. that you can keep all the awesome friends-being-assholes-to-each-other stuff and add on all the shippy stuff to get something extra special awesome.

I love Punziella’s work! Especially Rapunzel’s bangs and Elsa’s bun!

by Chuck Palahniuk 

8 Words You Should Avoid When Writing

As always, Orwell’s final rule applies: “Break any of these rules before saying anything barbarous.” There are instances where each of these words fills a valuable role. However, especially among inexperienced writers, these words are frequently molested and almost always gum up the works.

1. “Suddenly”

“Sudden” means quickly and without warning, but using the word “suddenly” both slows down the action and warns your reader. Do you know what’s more effective for creating the sense of the sudden? Just saying what happens.

I pay attention to every motion, every movement, my eyes locked on them. Suddenly, The gun goes off.

When using “suddenly,” you communicate through the narrator that the action seemed sudden. By jumping directly into the action, you allow the reader to experience that suddenness first hand. “Suddenly” also suffers from being nondescript, failing to communicate the nature of the action itself; providing no sensory experience or concrete fact to hold on to. Just … suddenly.

Feel free to employ “suddenly” in situations where the suddenness is not apparent in the action itself. For example, in “Suddenly, I don’t hate you anymore,” the “suddenly” substantially changes the way we think about the shift in emotional calibration.

2. “Then”

✧･ﾟ: * ☆°  ◡ ‿  ◡  °☆ *:･ﾟ✧ 

come with me, my love

to the sea

the sea of love

I want to tell you

how much

I love you do you remember when we met?

that’s the day I knew you were my pet

I want to tell you

how much

I love you come with me

my love

to the sea, the sea of love

I want to tell you

how much I love you