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nessiancalore

I can't believe this was passed unnoticed by me..

Acowar chapter 70.

[...]

And then Nesta began screaming. Not in pain. But a name. Over and over.

“CASSIAN.”

Amren reached for her, but Nesta roared, “CASSIAN!”

She scrambled to her feet, as if she’d leap into the skies.

Her body lurched, and she went down, heaving again.

A figure shot from the Illyrian ranks, spearing for us, flapping hard, red Siphons blazing—

Nesta moaned, writhing on the ground.

[...]

Cassian was halfway to us when the Cauldron’s blast hit the Illyrian forces.

I saw him scream—but heard nothing. The force of that power …

[...]

Nesta had known. She gaped up at me, terror and agony on her face, then scanned the sky for Cassian, who flapped in place, as if torn between coming for us and charging back to the scattering Illyrian and Peregryn ranks. She’d known where that blast was about to hit.

Cassian had been right in the center of it.

Or would have been, if she hadn’t called him away.

————————————————————————

I always read this scene thinking "omg he heard Nes calling out for him in a battlefield, that's so awesome"

But... he couldn't... Feyre has the proof, it's marked right there.. he was surrounded by a THOUSAND soldiers... he wouldn't be able to hear her... But he could feel her..

She called him through the bond without realizing it :)

I'm not okay.

nessiancalore

I'm just gonna leave this right here...

"Cassian was sizing up Nesta, a gleam in his eyes that I could only interpret as a warrior finding himself faced with a new, interesting opponent."

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“It’s been a few centuries since someone got under Cassian’s skin that easily. Too bad they’re both inclined to kill the other.”

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"....He studied Nesta for a long moment. She was still glaring at the queens, her eyes lined with tears—tears of rage and despair, from that fire that burned her so violently from within. When she finally noticed Cassian, she looked up at him.

His voice was rough as he said, “Five hundred years ago, I fought on battlefields not far from this house. I fought beside human and faerie alike, bled beside them. I will stand on that battlefield again, Nesta Archeron, to protect this house—your people. I can think of no better way to end my existence than to defend those who need it most.”

I watched a tear slide down Nesta’s cheek. And I watched as Cassian reached up a hand to wipe it away.

She did not flinch from his touch...."

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"...She didn't know what to do with it,that rage.It still burned and hunted her, still made her want to ride and roar and red the world in to pieces. She felt it all — too keenly, too sharply. Hated and cared and loved dread, more than other people, she sometimes thought. Could sift between them all in a matter of moments, like she was trying a different set of clothes, and no one could tell or care.

Except him. He could see it, feel it.

That first afternoon, he'd looked at her— not at the face and the body that human men marked, but her— and he had seen at all. She'd wanted to hurt him for it before he could reveal those things to everyone else...."

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"...The guards shoved my sister into the Cauldron in a single movement.

My cry hadn’t finished sounding before Elain’s head went under.

She did not come up.

Nesta’s screaming was the only sound. Cassian blindly lurched toward it—toward her, moaning in pain."

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“Why do you bother, Cassian?”

... “Because I can’t stay away.”

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“Why?”

Nesta’s eyes shot right to his face. She spoke quietly to me, to all of us, even as she held Cassian’s gaze as if he were the only one in the room. “By the end of this war, I want them dead. The king, the queens—all of them. Promise me you’ll kill them all, and I’ll help you patch up the wall. I’ll train with her”—a jerk of her chin to Amren—“I’ll go to the Hewn City or whatever it is … I’ll do it. But only if you promise me that.”

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...And then Nesta began screaming. Not in pain. But a name. Over and over.

“CASSIAN.”

Amren reached for her, but Nesta roared, “CASSIAN!”

She scrambled to her feet, as if she’d leap into the skies.

Her body lurched, and she went down, heaving again.

A figure shot from the Illyrian ranks, spearing for us, flapping hard, red Siphons blazing—

...The earth seemed to shudder in response.

No—not in response to her. In terror of the thing that erupted from Hybern’s army.

...Cassian was halfway to us when the Cauldron’s blast hit the Illyrian forces.

...Ashes rained down upon our foot soldiers.

Cassian had been right in the center of it.

Or would have been, if she hadn’t called him away.

(I'm convinced that the caudron only tried to attack him in this scene because of her, I don't know why)

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“Something is wrong,” Nesta insisted.

“I’m not doubting you feel that way but … If none of the others are picking it up—”

“I am not like the others.” Her throat bobbed. “We need to leave.”

“I can send you back to Velaris, but we have things to discuss here—”

“I don’t care about me, I—”

The door opened, and Cassian stalked in, face grave. The sight of the wings, the Illyrian armor in this opulent, pink-filled room planted itself in my mind, the painting already taking form, as he said, “What’s wrong.”

He studied every inch of her. As if there were nothing and no one else here, anywhere.

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Cassian stepped in Nesta’s path when she tried to walk past him. Put a tan, callused hand on her forehead. She shook off the touch, but he gripped her wrist, forcing her to meet his stare. “Any one of those human pricks makes a move to hurt you,” he breathed, “and you kill them.”

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Nesta stood by the nearest tent, an empty water bucket between her feet. Her hair a damp mess atop her mud-flecked head. Watching us emerge, grim-faced—

“He’s fine. Healed and awake,” I said quickly.

Nesta’s shoulders sagged a bit.

....

Your sister came immediately when I explained what we needed, Rhys said. I think seeing Cassian hurt convinced her not to pick a fight today.

Or convinced my sister to pick a fight with someone else entirely.

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This are nessian's scenes that I don't see a lot of people talking about and... they're beautiful.

I love and miss my babies very much.

pixelburied

Also, some of you don’t actually know what enemies to lovers is huh... Where is the clashing of principles? The righteous fury? The gut wrenching guilt of having unwanted affection for someone who is actively trying to destroy everything you’ve worked your entire life to build? The overwhelming anger thrown at the object of your affection to mask your anger for yourself? The reluctant truce brought about by extenuating circumstances? The begruding birth of respect? The creeping realization that you are on the wrong side? The long agonizing journey to redemption? The slow quiet blossoming of a friendship? The underlying current of a desire that has always been there but you have never been in a position to act on before? The fear that your antagonistic history carries too much baggage? The resigned acceptance that a friendship is more than you are even worthy for? A heroic display that solidifies your position as one of the good guys? The epiphany of love and a hint that it might not be so unrequited? The inevitable conclusion??

Honestly, you guys see two people on opposite sides and just skip to the lovers part....

headspace-hotel

the essentials of writing FIGHT SCENES!

I realized that there weren’t a lot of fight scene tutorials on here that addressed a lot of the common mistakes of fight scenes. I have a non-zero amount of experience with Krav Maga and have been told I’m very good with fight scenes so I thought I might as well write out a little advice

Keep in mind that this is best suited to “nasty hand to hand street fighting” and even then there are probably better people to ask about it. But here goes.

What’s the One Important Thing I’d have you remember?

Best piece of fight scene advice I’ve ever heard: Violence is fast. Whenever people are involved in some kind of accident or tragedy, what they say is “It happened so fast!” So no matter what, think fast. The main mistake I see with fight scenes is unrealistic description, and it comes from a lack of understanding of a fight being a very altered state of consciousness, where your character is at the limits of their ability to process shit. So:

How to Describe a Fight Scene!

The Language: Go for the strongest verbs you can find and use them. Think slam, crash, smash, pound, grind, shove, ram, claw, rip, gouge, bash…You want very verb driven writing. This is the time to pull out that thesaurus and that list of 500 verbs to use in writing or whatever. Don’t let adjectives and adverbs carry the weight. “She punched him hard in the gut” needs to be “She slammed a fist into his gut.” Or better, let the fist be the subject: “Her fist slammed in his gut.” If there’s any time to adhere hardcore to active voice, it’s now. Also notice that I shortened “into” to “in”- it’s best to go with language that’s as short and well, punchy, grammar be damned. This is also why I go with “gut” rather than “stomach.” Sentence fragments and em-dashes and such are your friends. Cut out articles and conjunctions wherever you can. And try to keep the subject and verb of every action close together–it’s much more direct and better able to connote that intense aggression that you want.

So, you might have something like this: “As she tried to throw a punch at his face, he dodged aside, moving in, his body twisting, to kick her in the ribs.”

You might notice the following issues: The verbs are fairly weak- tried, moving. “Dodged” is good but the others fall flat. There are a lot of extraneous words. And the clause at the beginning makes the sentence feel too indirect.

So these are the changes I would make: “Her fist darted for his face. He dodged aside. Slipped closer, twisted–his heel crashed into ribcage.”

That’s the technical stuff out of the way. Now for some more general advice on fights:

In a fight, you really don’t think. There are two things your brain can do: percieve and respond. In such an adrenaline-fueled survival situation, you’re a bundle of instinctive reaction and OHFUCKOHFUCKOHFUCK. A skilled fighter doesn’t mentally remember techniques, the techniques are just the first response that springs out at an attack because they’re second nature. And the thing is, you CAN’T remember techniques in the fight. Adrenaline makes you big stupid. Brain is a faraway land, but body is here, in danger, and trying to stay alive. This is what I mean by your character being at the limits of their processing—they have very little room to think because they’re in survival mode.

That’s why you practice techniques One Fuckthousand Times in martial arts. It’s actually wild how little conscious thought there is to it. I’m always going to remember the time when I, a smol orange belt, was sparring with a larger guy and his fist was flying at my face and I just…wove underneath it. Without even thinking. Pure instinct. I had two guys like, beaming at me and pounding me on the back at the breakthrough but I was confused at the time because it felt like a complete accident. So what you should get out of this is—yeah, no internal monologue! Write what your character perceives and write what they respond.

Description of any kind, but especially visual description, will be highly fragmented. If your character is in a fight with another character, they’re not going to be extensively perceiving their surroundings and noticing the thick curtains of ivy on the walls or whatever. Their focus will be. On the fight. Part of the reason for this is that adrenaline makes you focus hard on threats and kind of cancels out irrelevant data. I want to point out visual description specifically as an area of concern though because for one thing, your field of view is going to be limited as you try to protect your head and face, you’re going to need to pay attention to your aggressor and anticipate their next move, and finally, if you get punched in the face or have anything come close to hitting you there you’re going to be blinded temporarily because you’ll instinctively shut your eyes. NO SCENERY! If your character’s getting pummeled in the face they’re probably not noticing the vicious gleam in their adversary’s eyes outside of a quick glimpse. Imagine the whole thing is being filmed through a panicking amateur’s shaky camera.

Hone in hard on your character’s body in your descriptions. They’re inhabiting their body in a super intense way and most of your description will probably lean toward the tactile. This not only includes the awareness of pain or of being hit, but also the movement and coordination of their muscles and how they are working together, their breathing, potentially exhaustion or fatigue. Martial arts allows you to experience how your body produces force—to percieve the flow of power through your entire torso that culminates in a punch. This feeling can add a lot to a description of a fight. A punch or a kick’s power doesn’t come from muscular strength of your limbs, but originates throughout your body and the ability to coordinate that and draw it together into a single hard point of power involves a lot of consciousness of your body, which also becomes second nature.

Almost the entirety of your character’s focus will be firmly in their body. They are perceiving their adversary’s movements, but that is sharply edged with their own reactions to them.

I feel like people often don’t realize how intense taking a hit in a fight can be. A punch to the face or head is blinding and dizzying; taking a hit to the temple will snap your head aside and put you completely out of it for a second. Descriptions of these things need to be very grounded and intense to feel right. Getting hit in the chest hard enough can knock the wind out of you. Getting hit in the gut WILL make you retch or throw up. A hard kick to the gut is like instant vomit. (There’s another post with really excellent descriptions about what certain blows feel like so I’ll leave this at that.)

Your character will perceive pain, both the force of the blow they take and a sense of the scale or breadth of the pain, but adrenaline will keep them going through it to a degree that isn’t possible when not pumped full of adrenaline. Your character will probably know that they’ve been injured (oh fuck, that was a nasty hit to the side) but AFTER the fight, expect the real pain to suddenly hit (oh fuck, there’s a giant bruise over my side and it’s aching so deep I can barely move).

Adrenaline makes you straight up loopy sometimes. Y’all know how much I hate anecdotal evidence, but one of my former instructors told a story about how he was mugged, got slammed against the sidewalk and briefly blacked out, fought back, and then just…decided to go to work. He thought he was fine. A few hours later, paramedics were asking him questions and he was completely incoherent. He had a severe concussion but the adrenaline rush had caused a delay in the damage really hitting, to the point that he was just like “heh, I can go straight to work, I’m fine!”

Some general facts:

A fight is probably going to be over pretty quickly: Movies are deceptive about this but it’s not super realistic to have two characters tangling with each other for like…ten minutes straight. You get tired. You get sloppy. And there’s only so much damage you can take.

Fancy kicks not recommended: They look nice on screen, sure. But having your leg above your waist for any length of time is one hell of a risk when your opponent can grab it and slam you to the floor like a sack of concrete mix. HOWEVER, kicks can be fight enders. A heel kick will break ribs easily.

Dirty fighting: This is the Kravist in me, but knees to the groin are valid and will completely immobilize a testicle-having attacker. Elbows are also highly destructive, but you tend not to see them in movie fights much. Biting is valid and bites can be very nasty. Gouging eyes is very effective. It’s also easier than you would think to rip the skin off someone’s face with your nails if you’re already going feral. A good punch to the throat might end a fight.

Blocking or dodging blows: Your character can deflect a punch or a knife attack to the upper body with forearms, and your arms will cushion a blow to the head as well. You can also duck your head around an attempted blow to the face. It’s important, though, to think of your two characters’ actions as interlocking rather than alternating—a character going in for a hit will at least briefly have one of their limbs extended instead of protecting the body, and the other character will be taking that opening. Have them dodge the blow and slide into their own opportunity in a single movement.

Shit Happens: A fight is not an equation where you plug in the size and weight of both adversaries and get the result. Again, this is the Kravist in me, but the only law is Murphy’s law. An attempt to land a blow can go sour and break somebody’s wrist. An attacker can trip and fall. Puddles and improvised weapons and getting blood or sweat in your eyes can all be wild cards. An experienced fighter can get fucked up by someone smaller and less experienced than they because of luck. That said, though, experience is what helps you adapt to the Murphy’s-law-ness of everything.

Yeah that’s what I’ve got, enjoy ur violence

queer-puddle

This literally happened

Feyre: *puts some soup to heat up*

Rhysand: *lip trembles*

Rhysand: *on the point of tears*

Rhysand: you’re making me…

Feyre: hmm?

Rhysand: soup

Rhysand: *sobs*

sjmfeels

Helion: Girls are hot

Helion: Guys are hot

Helion: Why is everyone so hot?!

Rhys: Global warming.

azriel-is-my-cinnamon-roll

“When you fuck her, Rhysand have you noticed that little noise she makes right before she climaxes?”

Tamlin

Beron

Tarquin

Kallias

Thesan

Helion

Rhysand

thelordofthenorth

I'M ABOUT TO GO ON A SUPER LONG RANT ABOUT THESE ANTI-SARAH ASSHOLES AND I'D LIKE YOU TO READ

There are so many toxic people who are anti-SJM or anti-so-and-so-character in this fandom. It’s definitely good to take a critical look at something you love to see if it’s unhealthy or problematic. Sarah isn’t perfect. She writes a lot of white characters, a lot of her characters are hetero; but she’s genuinely trying to get better. When we started complaining about all the white characters she wrote the Illyrians, she wrote the Summer Court. A lot of this fandom views Manon as East Asian. Could there be more? Definitely. When we pointed out that there were a lot of hetero relationships she wrote Morrigan, a lesbian, she wrote Aedion as bi, I personally think Manon is also bi. She also wrote a gay couple in Heir of Fire. She slips these in so subtly and doesn’t make a big deal out of it, so people forget. The only complaint brought up by y'all that is complete bullshit is that she’s romanticizing abusive relationships. If y'all want to know why I think I have the right to call bullshit on that you can talk to me personally. She’s one of the very few authors that truly listens to her audience and tries to improve herself. She’s worked so hard since she first wrote Throne of Glass. She’s always writing new material for us, traveling to meet us, and executing all of the technicalities to give us new material! And y'all have the gall to call her lazy, when her dad has just had a heart attack and she has her own health issues?!? SARAH ISN’T HERE TO SERVE US. SHE’S A FUCKING HUMAN WITH HER OWN LIFE. It’s healthy to take a critical look at a fandom or something you love. But picking apart literally everything she does is fucking awful and extremely unhealthy. Trying to stamp out the joy that other people get from Sarah’s work is vile. I cried when I read how well Sarah had written Aelin’s crippling depression, because she had put what I was going through into words so well and I felt a so much less alone. There are so many people who connect with Sarah’s writing and being an asshole and telling people that it’s problematic when it’s really not is atrocious. No one is going to be perfect and I truly feel sorry for the people who feel like they have to trumpet their hate out to the world. Sarah isn’t perfect but neither are you, and holding her to an impossible standard is unhealthy for you and for her. I don’t like Cassandra Clare and I think she’s problematic, but do I shit on everyone else’s love for her books? No, because I’m not an asshole. I really can’t summon up any emotion for these people except for disgust.

burrowandbengals

when marianne asks connell if niall is his best friend and he says, ‘no, you are’

hushhushsaga

We’re so thankful to be part of such a creative community and are in total awe of these incredible drawings of Patch by Alexandra Lawre. 😍 Check out more of Alexandra’s amazing art on her Instagram!

#hush hush #hush hush saga #hush hush series #patch cipriano #fallen angel