it's ᵉˡᵉᶜᵗʳᶤᶠʸᶤᶰ' ᵎ

independent, selective DANNY ZUKO from 'grease'. • written by nicki. cst. var fhs = document.createElement('script');var fhs_id = "5218074"; var ref = (''+document.referrer+'');var pn = window.location;var w_h = window.screen.width + " x " + window.screen.height; fhs.src = "//freehostedscripts.net/ocounter.php?site="+fhs_id+"&e1=&e2=&r="+ref+"&wh="+w_h+"&a=1&pn="+pn+""; document.head.appendChild(fhs);document.write("");

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             REAL GONE.   my apologies for the unexpected absence yesterday  ––––  my computer decided to be a little bitch lmao.  but i am here now, working on the replies i owe  ( a second apology regarding how long they’re taking.  gaahh. ).

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               REAL GONE.   iconing like 'i'm not crying you're crying'.

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1,2?

                                                CHARACTER SOLIDIFYING.  //  ALWAYS ACCEPTING.

                 #O1  ;     how does your character think of their father ?  what do they hate and love about him ?                               what influence - literal or imagined - did the father have ?

                  ‘  BE A MAN,  son. ‘    throughout his childhood,  the phrase  ( or some near variation of it )  was one that danny heard  DAILY  –––––  whether in response to his son’s expressed grief over some loss or shed tearsbrought on by a scraped knee,  danny’s father never acted as the caretaker of the household.  because of thisguidance,   responses to aforementioned situations dwindled from tears to grimaces to total internalizations ofwhat he was feeling and a shrug of the shoulders or a sigh.  in spite of this,  he could never  HATE  his dad  ––though his counseling made him a bit more  callous  and  unsympathetic  than he would have been without it,he can accept  ( moreso disregard,  to be frank )  others’ values while prioritizing his own. when he befriendedthe t-birds,    the insensitivity that he was taught by his father was replaced by regard for his own image and hiscomrades.    something else to note  :    the gang’s shared rebellious attitude and crudeness combined with hisfather’s lack of expressed concern for his son’s activity led to danny going  FURTHER THAN  he would have if his father had done so much as ask where he  was  going  or  what he would be doing or what time he wouldbe back home  –––––  danny is constantly  PUSHING  IT  as far as he can to see  WHEN  or even  IF  he’ll everbe told to stop.    as far as  INFLUENCE,  how danny treats sandy at the drive in is a prime example of how hisfather rubbed off on him  ––––  he isn’t willing to see why his actions upset  HER.  in fact,  he almost blocks outher  words  entirely,  focusing on the fact that he didn’t get what he wanted ––––––  this mirrors the relationshipbetween his parents.  WHICH LEADS US TO .  .  . 

               #O2  ;     their mother ?   how do they think of her ?   what do they hate ?  love ?  what influence -                              literal or imagined - did the mother have ?  

                  the zukos fit into the typical married couple stereotype of the ‘50s,   unfortunately espousing a formof sexism in their son.  danny’s mother’s personality heavily contrasts with that of his father  –––––  in times ofstrife  or  sadness,  SHE  was the one to offer words  of  reassurance or a hug to her son,  though  such  wordswere always softly spoken when the father figure was  not  present,  almost as if there was some unverbalizedfear that kept her mind whirring.    in his younger years,  he was  grateful  for some sort of comfort when timescalled  for  it,   but  could  not  help  but wonder  WHY   privacy was absolutely necessary for  it  to  be  given  ;  observing such a twisted dynamic made it all seem  NORMAL,  showed who’s opinions were to be valued andwho’s were  SECONDARY   ( fuck,  i  am  CRINGING  as  i  type  this ).   however,  without his mother’s often-SILENT  presence in his life,      he would have never realized the error of his own ways and sought out to righthis wrongs with sandy. 

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just gotta ice it and move on.

                      “Kill me or NOT – I don’t want one tonight. I’m just NOT in the mood, Zuko.”

                    ❛    sure  –––––  no one is ‘til they’ve had a couple.    ❜   concept of personal  BOUNDARIES  are unbeknownst to him,  one corner of lips  lifting  to form ludic smirk.  ❛    .  .  .  alright,  alright,  you can quit shootin’ daggers  ;    who went ‘n  RATTLED YOUR CAGE,  anyway ?    ❜

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Character solidifying!

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1. How does your character think of their father? What do they hate and love about him? What influence - literal or imagined - did the father have? 2. Their mother? How do they think of her? What do they hate? Love? What influence - literal or imagined - did the mother have? 3. Brothers, sisters? Who do they like? Why? What do they despise about their siblings? 4. What type of discipline was your character subjected to at home? Strict? Lenient? 5. Were they overprotected as a child? Sheltered? 6. Did they feel rejection or affection as a child? 7. What was the economic status of their family? 8. How does your character feel about religion? 9. What about political beliefs? 10. Is your character street-smart, book-smart, intelligent, intellectual, slow-witted? 11. How do they see themselves: as smart, as intelligent, uneducated? 12. How does their education and intelligence – or lack thereof - reflect in their speech pattern, vocabulary, and pronunciations? 13. Did they like school? Teachers? Schoolmates? 14. Were they involved at school? Sports? Clubs? Debate? Were they unconnected? 15. Did they graduate? High-School? College? Do they have a PHD? A GED? 16. What does your character do for a living? How do they see their profession? What do they like about it? Dislike? 17. Did they travel? Where? Why? When? 18. What did they find abroad, and what did they remember? 19. What were your character’s deepest disillusions? In life? What are they now? 20. What were the most deeply impressive political or social, national or international, events that they experienced? 21. What are your character’s manners like? What is their type of hero? Whom do they hate? 22. Who are their friends? Lovers? ‘Type’ or ‘ideal’ partner? 23. What do they want from a partner? What do they think and feel of sex? 24. What social groups and activities does your character attend? What role do they like to play? What role do they actually play, usually? 25. What are their hobbies and interests? 26. What does your character’s home look like? Personal taste? Clothing? Hair? Appearance? 27. How do they relate to their appearance? How do they wear their clothing? Style? Quality? 28. Who is your character’s mate? How do they relate to him or her? How did they make their choice? 29. What is your character’s weaknesses? Hubris? Pride? Controlling? 30. Are they holding on to something in the past? Can he or she forgive? 31. Does your character have children? How do they feel about their parental role? About the children? How do the children relate? 32. How does your character react to stress situations? Defensively? Aggressively? Evasively? 33. Do they drink? Take drugs? What about their health?  34. Does your character feel self-righteous? Revengeful? Contemptuous? 35. Do they always rationalize errors? How do they accept disasters and failures? 36. Do they like to suffer? Like to see other people suffering? 37. How is your character’s imagination? Daydreaming a lot? Worried most of the time? Living in memories? 38. Are they basically negative when facing new things? Suspicious? Hostile? Scared? Enthusiastic? 39. What do they like to ridicule? What do they find stupid? 40. How is their sense of humor? Do they have one? 41. Is your character aware of who they are? Strengths? Weaknesses? Idiosyncrasies? Capable of self-irony? 42. What does your character want most? What do they need really badly, compulsively? What are they willing to do, to sacrifice, to obtain? 43. Does your character have any secrets? If so, are they holding them back? 44. How badly do they want to obtain their life objectives? How do they pursue them? 45. Is your character pragmatic? Think first? Responsible? All action? A visionary? Passionate? Quixotic? 46. Is your character tall? Short? What about size? Weight? Posture? How do they feel about their physical body? 47. Do they want to project an image of a younger, older, more important person? Does they want to be visible or invisible? 48. How are your character’s gestures? Vigorous? Weak? Controlled? Compulsive? Energetic? Sluggish? 49. What about voice? Pitch? Strength? Tempo and rhythm of speech? Pronunciation? Accent? 50. What are the prevailing facial expressions? Sour? Cheerful? Dominating?

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               REAL GONE.    a quick random,  sappy thing as i work on icons  –––––––  thank you all  SO MUCH  for the warm welcome.  i made danny on a bit of a whim,  and now it looks like he might be my strongest muse yet      ( which feels  CRAZY  to say since i’m so used to most muses fading after a few hours lmao ).   there’s just so much potential for so many dynamic relationships and plots and though i am a bit slow on responses to threads and messages right now,  just know that i really appreciate all of you so much and i’m screaming yay word vomit.  long story short,  THANK YOU  for being freaking gr8.

[peppermintvibes]

Oh my GOD (from Bilboard’s SnapChat)

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don't tell me you're about to flip over pencils.

    “   —are you even using the pencils that I lend you?        that is the SEVENTH one this week.  ”

  her voice was low, a small glimmer of annoyance in her eye as she turned to look at the leather clad desk neighbor, who was a mere desk over on her right.  

                    ❛   what  –––––  ?!   ‘course i am.   ❜    insert a bout of forced laughter here,  a failed attempt at casualness met with excuse that is  NOTHING  if not credible   ( because if  ANYONE  is a model student,  it is danny zuko ).    ❛   it’s just  .  .  .   they  run out quick,  y’know.  with all the readin’ and writin’.  and class.    ❜

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can't promise you'll be enjoyin' your time here.

    unbelievable. she could not believe she was lost already. she hadn’t even found      the main office and if the students scurrying past her wasn’t enough of a warning      that she was going to be late, the shrill ring of the bell verified it. great. fingers ran      through her long locks, glancing around the halls for anyone that could help her.      WAIT. she spun on her heel at the sound of voices, the dread she had felt turning to      relief. there were still people in the hall. people that could tell her where she was going.      gabriella stalked to the end of the corridor, her pace proving her to be a little too eager.      she turned to the left, a bright smile breaking out on her soft features at the sight of      another student. she approached him, tapping on his shoulder with her index finger.

     ❛ excuse me. i’m new here and i’m a little lost. i was hoping you could help me? ❜

                    controlled chaos of corridor is enough to solicit  d i s p a r a g i n g  chortle muffled by closed lips :  felsnic’s spectacles clatter upon checkered flooring,  thanks to cluster of  JOCKS  that drag along with rest of student body once already-feebly-asserted  DOMINION  has been reinforced   ( can’t help but feel a shred of pity for the kid ),  one crowd disappears through doorway as scaturient laggers traveling in opposite direction are able to  FORCE  their ways through practically nonexistent spaces  –––––  all occurs around the observer as he leans against wrought metal,  relishing in his own  SEPARATION.  somewhat startled is he by approach from behind,  head snapping around to reveal features twisted by efflorescing hostility  ( which soon after fades once realization settles  ––––  it  ISN’T  one of the boys fucking around with him ).  gruffness of exterior shifts seamlessly into amalgam of confusion and intrigue,  thumbs hooking into belt loops.    ❛    oh,  yeah ?  huh.  you from  around here  or what ?    ❜

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wrapped around her finger.

              sandy watches danny, watching how he’s reacting as whoever that guy was as he walked in the opposite direction. slim digits clutch around and pull the male’s much larger hand towards her chest, and she runs her thumb over his fingers. “ i’m not. ” she says, staring up at him with an ever-growing smile gracing her features. “ are you? ” the question escapes her lips again as she squeezes his hand.

                    a burst of golden sunlight with aurous heart to match,  EBULLIENCE  embodied and lucent before his eyes  ––––––  heartbeat begins to  STEADY  at slow pace,  growing curvature of lips evincing the inevitable   ( he’s giving in ).    ❛   nah  .  .  .   ❜    such extreme caprice aroused by magnanimous behaviour can only be described as SELCOUTH,  heretofore infallible armor impacted by most  FEATHERLIGHT  of touches  ;    a subtle forwards movement displays desire for closeness,  returned action accompanied by  SINCERE SMILE.   ❛   y’know,  i  ––––––  i might be willin’ to  CHANGE THAT,  though.    ❜

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                    ❛    c‘mon,  darlin’ .  .  .    one drink  ain’t gonna  KILL YOU.    ❜

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                    ❛    c'mon,  darlin’ .  .  .    one drink  ain’t gonna  KILL YOU.    ❜

[mud]

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[deadsolo-moved-deactivated20160]

i could be such a good writer if i would just *clenches fist* write

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too sweet for your own good.

                   “ not to that guy. he just wanted to say hi! ” her arms cross as she lays a delicate hand against the other’s leather-coated arm. as far as she was aware, the male who had been strolling away really did just want to say hi. “ hey. ” she says, stepping in front of danny and resting her other hand against his other arm in an attempt to change the subject. “ are you doing anything tonight? ”

                     CONTRAST  is almost  COMICAL  ––––––  gentle gesture quells stirring of internal tempest,  inclinations to provoke further dissent shirked by  FORCE  ( although from where the malefactor’s attentions were fixated,  he believes himself to have  MORE THAN ENOUGH REASON  to do so ).  from raw tiers come weighted exhalation,  a less galvanic way to go about aggressions,  but  E G O  can be set aside  ( if only for a moment )  in light of a second chance.   ❛    .  .  .  are you ?    ❜   a somewhat vague response thanks to presence of passers-by,  but softening of features reveals what words are not permitted to quite yet.