Monterey Bay Aquarium
Claire Keane
One Nice Bug Per Day
祝日 / Permanent Vacation
Aqua Utopia｜海の底で記憶を紡ぐ
let's talk about Bridgerton tea, my ask is open
AnasAbdin
we're not kids anymore.
taylor price
titsay
DEAR READER
todays bird
⁂
Cosmic Funnies
cherry valley forever
Origami Around
Product Placement
#extradirty
tumblr dot com
wallacepolsom
seen from United States
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@nocturnus33
With over 20 years in fandom, I dedicate myself to binding the stories I like: with more passion than talent 😂. I also reblog the work of others as a way of celebrating fandom and these beautiful works of fan art that are bound fan fiction. For other ficbinders' work, I always use the same hashtag so that they can be found easily: "Fantastic ficbinders and where to find them"
Keep fandom free!
PS: Most of my posts are queued.
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Gilderoy Lockhart by W. Somerset Maugham
Maugham would treat Lockhart as a tragicomic study in the hollowness of public reputation. He would move away from the caricature of a vain teacher and instead paint him as a man who has fully hollowed himself out to feed the public’s insatiable hunger for a hero. His technique relies on the detached, biting irony that exposes the fraudulence behind a polished exterior. Maugham would dissect Lockhart’s life with a cool, surgical precision, highlighting the pathetic desperation of a man who knows he is a sham but is terrified of the moment the facade finally slips. By focusing on the interplay between Lockhart’s manufactured charm and his underlying, spineless mediocrity, Maugham would turn him into a quintessential Maugham character—an imposter who is at once ridiculous, pitiable, and deeply human in his pursuit of an applause he knows he never truly earned.
Marlene McKinnon by Nadine Gordimer
Gordimer would frame Marlene McKinnon as a figure defined by the agonizing tension between personal conscience and the crumbling political morality of the Wizarding World. The writing would be surgical and taut, stripping away romanticized notions of heroism to expose the cold, systemic betrayals that characterized the war. Her technique relies on the precise observation of how the private self is dismantled by public terror, focusing on the way Marlene navigates the suffocating atmosphere of suspicion and surveillance, turning her resistance into a study of inevitable loss and the stark, unsentimental reality of what it means to stand against an institutionalized evil that seeks to erase not just the body, but the very possibility of dissent.
Remus Lupin by Graham Greene
Greene would strip away the wonder of the magical world to reveal a landscape of moral gray areas, exhaustion, and quiet disappointment. He would portray Lupin not as a heroic figure but as a man burdened by an incurable, shameful secret who is trying to get by in a world that offers him very little kindness. His technique centers on a kind of gritty realism. He would use sparse, melancholic prose that focuses on the dirt on Lupin’s sleeves, his frayed robes, and the constant gloom that follows him. Greene would explore Lupin’s struggle through a lens of existential weariness. Every choice is a compromise between his natural kindness and the inevitable cruelty of his condition, leaving us with a man who is searching for a peace he feels he will never earn.
Mundungus Fletcher by Charles Bukowski
Bukowski would treat Mundungus as the ultimate denizen of the Wizarding underworld, a man whose existence is defined by cheap firewhiskey, smoky taverns, and the desperate hustle for survival. He would ditch the "magic" for a gritty, unvarnished look at the streets, focusing on the smell of stale tobacco and the nervous sweat of a man who is always one bad deal away from prison. His technique relies on unfiltered, raw realism that shuns any attempt to make the character look heroic or noble. By using short, jagged sentences and a cynical, stream-of-consciousness style, he would capture the pathetic yet resilient nature of a petty criminal who views the great war between Dumbledore and Voldemort as just another background noise to his own small-time schemes.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Alternatives to "Saw"
ᚑ ᚑ
When a character notices something quickly:
»-♡→ Spotted »-♡→ Caught sight of »-♡→ Glimpsed »-♡→ Noticed »-♡→ Detected »-♡→ Clocked »-♡→ Picked out »-♡→ Espied »-♡→ Observed »-♡→ Sighted
...or if they're searching for something:
➺ Scanned ➺ Surveyed ➺ Examined ➺ Inspected ➺ Searched ➺ Swept their gaze across ➺ Looked over ➺ Studied ➺ Pored over ➺ Scrutinized
...or if they're admiring something:
➵ Beheld ➵ Gazed at ➵ Admired ➵ Marveled at ➵ Took in ➵ Drank in ➵ Appreciated ➵ Feasted their eyes on ➵ Reveled in ➵ Absorbed
...or if they're shocked or horrified:
̗̀➛ Witnessed ̗̀➛ Stared at ̗̀➛ Gawked at ̗̀➛ Recoiled from the sight of ̗̀➛ Bore witness to ̗̀➛ Froze at the sight of ̗̀➛ Locked eyes on ̗̀➛ Gaped at ̗̀➛ Couldn't look away from ̗̀➛ Found themselves staring at
ᚑ ᚑ
Minerva McGonagall by Edith Wharton
Wharton would view McGonagall as the formidable guardian of a decaying, though still potent, social institution, much like the rigid society she chronicled in The Age of Innocence. The narrative would be deeply concerned with the tension between individual passion and the crushing weight of duty, capturing the subtle, unspoken sacrifices McGonagall makes to maintain the "sanctity" of Hogwarts. Her technique centers on masterful social irony and the psychological architecture of restraint, where the drama unfolds in the smallest of gestures—a tightened lip, a perfectly phrased reprimand, or the strategic placement of a cup of tea. Wharton would strip away the magical spectacle to reveal the cold, tactical brilliance required to navigate a patriarchal establishment, portraying McGonagall as a woman of iron resolve whose greatest battle is suppressing her own human heart to preserve the order she serves.
Filius Flitwick by Jorge Luis Borges
Borges would find the essence of Flitwick not merely in his stature or his mastery of Charms, but in his nature as a scholar of the esoteric and the infinite. He would treat Flitwick’s classroom as a labyrinthine library of hidden truths, where each spell is a fragment of a forgotten, ancient language or a geometric paradox waiting to be solved. His technique employs metaphysical inquiry and the blending of erudition with fantasy, treating the mechanics of levitation or transfiguration as philosophical puzzles rather than mere tools. Borges would write Flitwick as a quiet, precise intellectual—a man who understands that in the precise articulation of a incantation, one is not just moving an object, but altering the fundamental architecture of the universe itself.
seeing people say "this trope has been done to death" as if that's ever stopped anyone from eating bread. BREAD HAS BEEN DONE TO DEATH FOR LITERALLY THOUSANDS OF YEARS AND WE STILL WANT MORE BREAD. write your chosen one AU. write your coffee shop meet-cute. write your 47th iteration of "there was only one bed" because guess what??? we're still hungry.
Great authors do not avoid tropes; they anchor their genius within them.
When Jane Austen used the "Marriage Plot" in Pride and Prejudice, she wasn't failing to be original; she was utilizing a structural "load-bearing wall" of 19th-century society. By using the trope, she was able to focus her energy on the internal architecture: the wit, the social critique, and the psychological depth of Elizabeth Bennet.
If an author tries to build a house without walls (without the familiar structure of a trope), the story often lacks the tension and resonance needed to hold the reader’s attention.
Tropes are not the opposite of great writing; they are the scaffolding upon which great writing is built. By utilizing established tropes, authors free themselves from the burden of explaining "the rules of the world" and are instead given the creative freedom to explore the depths of human nature. The greatness of an author is not measured by their refusal to use a trope, but by how skillfully they inhabit one.
Harry, Ron, & Hermione by Patti Smith.
Patti Smith would portray Harry, Ron, and Hermione not as the heroes of a finished war, but as ghosts of a revolution that never quite stopped burning in their blood. Her prose would be raw, rhythmic, and steeped in the romantic grit of the late twentieth century. She would treat their survival as a kind of long, beautiful, and exhausting rock and roll fallout. She would focus on the tactile artifacts of their shared history: the fraying wool of a jumper, the weight of a wand like a microphone held too long, the permanent imprint of scar tissue. She would frame their adulthood not as a settled peace, but as a restless, nomadic existence haunted by the electricity of their youth. Ultimately, she would view them as survivors of a myth they were forced to inhabit, capturing the aching nostalgia of three people who know that while the fighting is over, the feeling of being on the run and the profound, soul-deep solidarity of the outsider is the only language they still truly speak.
How does this interpretation of them as restless, myth-haunted survivors resonate with how you imagine their lives in middle age?
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Things characters never say out loud!!!
✮ I need you to stay without me having to ask
✮ I'm not actually fine and haven't been for longer than I've admitted
✮ I'm afraid that if you really knew me you would leave
✮ I don't know who I am outside of what I do for other people
✮ I miss who I was before everything that made me who I am
✮ I'm lonely in a way that having people around doesn't fix
✮ I think about that moment more than I will ever tell you
✮ I'm proud of myself and I don't know how to hold that without someone giving me permission
✮ I chose you specifically and I need you to know that even though I'll never say it
✮ I'm angrier than I look and have been for years
✮ I forgave you a long time ago and kept the grudge because the grudge felt safer
✮ I want to be taken care of just once without having to orchestrate it myself
✮ I don't know how to let this go and I'm not sure I want to
✮ That thing you said changed the direction of my life and you have no idea
✮ I stayed because of you specifically and I'll never tell you because of what it would mean
✮ I'm scared that this is as good as I'm capable of becoming
✮ I love you in a way I don't have the right category for
✮ I needed you to fight for me and you didn't and I'm still not over it
✮ I'm grieving something I never had and I don't know how to explain that to anyone
✮ I think I could be happy and that terrifies me more than anything that has ever hurt me
Molly Weasley by Louisa May Alcott
Alcott would embrace Molly as the absolute center of her domestic universe, elevating the daily grind of running a chaotic household into something noble and deeply sacred. She would focus on the intense, protective love Molly feels for her children, portraying her fierce temper not as a flaw, but as a righteous fire necessary to guard her family against a cold and dangerous world. Her technique relies on warm, moralistic sentimentality blended with a keen eye for the economics of poverty. She would detail the mended sweaters, the home-cooked meals, and the bustling, noisy warmth of the Burrow as acts of profound resistance. Alcott would paint Molly as the ultimate matriarch, finding deep, quiet beauty in the sacrifices of motherhood while emphasizing that a home, no matter how small or broke, is a fortress built of love.
Pride collection 2026 🌈✨
All seven books are notebooks filled with lined paper. Perfect for all your writing needs.
DM to purchase
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If Alice Walker Wrote the Story of Petunia Dursley
If Alice Walker were to pick up the pen to explore the Wizarding World, she would not be interested in the flash of wands or the glory of battles. She would look at the margins. She would look for the voices that are silenced, the women who are broken by patriarchal expectations, and the quiet, heavy work of survival.
For Walker, the best character to anchor this vision is Petunia Dursley. She would take Petunia, a woman defined by her bitterness and her smallness, and peel back the layers to show the deep, painful roots of that anger—a story about a sister left behind, a girl who tried to make herself "normal" because the world told her that was the only way to be safe.
The Walker Blueprint for Your Fic
Horace Slughorn by Agatha Christie
Christie would approach Slughorn not as a mere teacher, but as the centerpiece of a delicious, low-stakes social mystery. She would frame his "Slug Club" gatherings as the perfect microcosm of a village fête—filled with gossiping elites, carefully placed status symbols, and hidden agendas lurking behind polite chitchat. Her technique relies on the "cozy" parlor-mystery structure, using Slughorn as an unreliable, social-climbing narrator who believes he is the one pulling the strings, while Christie subtly pivots the reader’s gaze to the subtle clues he drops about his past. By contrasting Slughorn’s blustering, jovial hospitality with an underlying current of moral ambiguity, she would turn his dinner parties into a game of wits, where the true puzzle isn't a murder, but the question of just how far this collector of "precious" people will go to maintain his own comfort and influence.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Writing Fanfic: The Structural Cheat Sheet.
Staring at a blank page with a dozen great ideas for your favorite characters but no idea how to connect them is a struggle every writer faces. Understanding narrative structure is the most effective way to transform those scattered scenes into a cohesive, compelling story. For those new to writing fanfiction, where you are already working within an established world, these structures provide a reliable framework to help you organize your new plot threads and keep your narrative moving forward.
1. The Hero’s Journey (Monomyth)
Popularized by Joseph Campbell, this structure is the backbone of many epic fantasies and adventure novels. It follows a protagonist who goes on an adventure, faces a crisis, wins a victory, and comes home changed.
Best for: Action-adventure, "Chosen One" AUs, or stories where a character is transported to a new location (Isekai).
Key Stages: The Ordinary World, The Call to Adventure, Crossing the Threshold, The Ordeal, and The Return with the Elixir.
2. The Three-Act Structure
This is the most standard Western narrative model. It breaks the story into three distinct parts, ensuring the pacing remains tight and the stakes continue to escalate.
Best for: Almost any fanfiction, from short stories to long-form novelizations.
Act I (The Setup): Introduces the status quo and the "inciting incident" that disrupts it.
Act II (The Confrontation): The protagonist struggles against obstacles, leading to a midpoint climax.
Act III (The Resolution): The final battle or decision and the aftermath (the "new normal").
3. Fichtean Curve
Unlike structures that rely on a slow build-up, the Fichtean Curve is composed of a series of crises that occur in rapid succession, leading directly to the climax. It is designed to keep the reader on edge.
Best for: High-intensity thrillers, "hurt/comfort" fics, or political dramas where the characters are constantly under pressure.
How it works: You skip the long exposition. You start the story at a point of high tension and move from one "crisis" to the next, with very little downtime between them.
4. The Quest Structure
In this format, the narrative is driven entirely by a specific goal. The story is a sequence of events—often episodic—that take the characters from Point A to Point B.
Best for: Road trip stories, "getting the team back together" plots, or scavenger hunts.
Why it works for fanfiction: It is very modular. You can easily insert "filler" chapters or side adventures while keeping the main destination (the goal) in sight.
5. The Nested Narrative (Frame Story)
This involves a "story within a story." You might have a primary character telling a story about the past, or a character finding an old journal that recounts a different adventure.
Best for: Flashback-heavy fics, revealing character backstories, or exploring lore that isn't shown in the original source material.
Why it works for fanfiction: It allows you to explore "canon-divergent" events while keeping your current characters safe in the "frame" of the present day.
Tip for Fanfic Writers: Because you are already working with established characters, you don’t need to spend as much time on "Act I" introductions as a novelist would. You can often start much closer to the action because your readers likely already know who the characters are and how they generally behave.
Which of these structures sounds like it might fit the story idea you currently have in mind?
Batman - Borderline - Dark Version
This is a simple inverted version of the cover design I had already created. The original cover has a white background and black elements and text. I was curious about how it would look with a black background and white elements/text instead so I spent 6 minutes switching them all over.
