held in lunar synthesis

songs to make you feel like the first + last scenes in a movie-

the beginning-  installs a feeling of determination. the sun is shining, the kid is skateboarding through the city, people are getting ready for their big day, the story is starting to paint over your screen, motivating you to get outside right after this hour and a half and do something.

9.38pm: do you love us like you love your son because you  killed him.

9.42pm: i have rethought the previous message and have decided instead to ask where all the prophets have gone. where are luke and john.

10.46pm: you said the meek shall inherit the earth and then gave my mother breast cancer like you were playing a cosmic joke.

11.10pm: i started believing in you when a truck almost ran me off the road. the bullet that killed caitlyn had your name on it. i buried you with her bones.

12.40am: my father teaches a bunch of high school children about your face. he comes home and beats mine. have the prayers of priests started tasting like semen and children?

01.06am: there are missiles aimed at countries where your people are. the rainbow of your promise starts looking like a taunt.

02:00am: do you still watch clocks to see them turn the hour or are you asleep where you cannot hear our sorrow?

02:55am: i hate that i will never get rid of you. there was no vaccine for beliefs.

03:12am: i love you more than i love myself. you kiss just like judas.

i don’t see a lot of fall out boy-related asks, so i figured i’d make one myself! ask me anything, or reblog if you want asked these questions!

take this to your grave: what’s a secret you usually don’t tell people?

from under the cork tree: do you have a favorite childhood book?

infinity on high: who’s your favorite artist?

folie a deux: what’s something about yourself that you feel is underappreciated?

soul punk: do you like working solo or with others?

save rock and roll: if you had to pick one genre of music to listen to, what would it be?

american beauty/american psycho: what’s something that drives you crazy?

m a  n   i    a: have you ever had a panic attack?

grand theft autumn: (if you like boys) do you prefer rebel boys, or gentlemen?

dance, dance: what song makes you dance every time?

sugar, we’re going down: do you hunt? are you against hunting?

this ain’t a scene, it’s an arms race: do you hold grudges, or prefer to keep things civil?

disloyal order of water buffaloes: what are your favorite and least favorite fall out boy albums?

headfirst slide into cooperstown on a bad bet: have you lost any big bets?

my songs know what you did in the dark: have you ever set something on fire?

centuries: are you afraid of not being remembered?

uma thurman: who’s your favorite actor?

drunk history: (if you drink) what kind of drunk are you?

One of the strongest bonds that link us to our favorite stories is the emotional tie, or books that sink a fist right into our guts. When you finished a book where you couldn’t let go of after the last page, chances are, the author successfully punched you in the spleen. If you’ve ever wondered how to do just that, here are some of my favorite methods:

Make your reader root for your main character(s). Make your character stretch out their arm toward their goal, as far as they can to reach, until their fingertips barely brush it. Make your character want something so much that your reader wants it, too.

When your character trips and stumbles and stops to question themselves, the readers will hold their breath.

Push your character to their very limit, and then a little further.

When your character hits the bottom, they should scrape themselves back together and get back up. Give readers a reason to believe in your character.

If your character is challenging your plot, your plot should challenge your character.

Leave a trail of intrigue, of questions, of “what if?” and “what next?”

If a character loses something (a battle, an important memento, part of themselves), they must eventually gain something in equal exchange, whether for good or bad.

Raise the stakes. Then raise them higher.

Don’t feel pressured to kill a character (especially simply to generate emotional appeal). A character death should serve the plot, not the shock factor. Like anything else in your story, only do it if it must be done and there’s no other way around it.