lou

she suffers both outwardly (isolation, alienation, attacks) and inwardly (TMR fan)

[marvohlou]

★ 𝐀𝐁𝐎𝐔𝐓

— LOU. 20s. liveLes/loveLes.

★ 𝐌𝐎𝐑𝐄

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[ceruleanheaven]

brought nothing to the gun fight. whatever man

[deallss]

Tom Riddle’s last night at Hogwarts

[said-snape-softly]

Said Voldemort...

Said Snape | Said Malfoy | Said Voldemort

Hi everyone! I'm trying out a new way of analyzing speech in the HP series. In my previous installments, I used a method breaking descriptors down by part of speech, so as to better reflect the exact phrasings and constructions used in the series. However, I have been thinking about changing this up going forward, by combining all descriptors across parts of speech and breaking them out semantically. That's what I did here—please let me know what you think!

Riddle/Voldemort's speech is described as:

About a fifth of the time when Voldemort’s (or Riddle’s) speech is described, it is to denote the softness of his volume (e.g. “quietly”, “softly”, or “whispering”). The second most common descriptor conveys an icy tone: e.g. “cold” or “cool”, followed by a high pitch: e.g. “high”, “high-pitched”, or “shrill”. Coming close behind words denoting pitch are words denoting a strong, negative, anger-based emotion: e.g. “furious”, “shouting”, “shrieking”, “screeching”.

Although not the most common descriptor for Voldemort/Riddle’s speech, it is notable that he is the character in the series whose speech is most often described with snake-like, sibilant hissing— fitting for the notorious Parselmouth.

If we break down the prevalence of these descriptors by Voldemort’s timeline, some interesting patterns emerge:

As a child, Riddle is most likely to speak in a politely controlled fashion, demonstrating an understanding of power hierarchies (he’s speaking to adults) and a desire to manage perceptions. This suggests a wary and mistrustful view of authority figures.

Looking across Riddle’s childhood, teen, and young adult years together, we see that his speech is most often characterized as soft (e.g. quiet, soft, whispered) followed by controlled (e.g. calm, careful, pleasant, measured) and impatient (e.g. quick, sharp, sudden, interrupting). The somewhat contradictory set of vocal descriptions in his youth (impatient vs controlled/polite) illustrates a tension present in young Riddle; although he’s ambitious, thirsty for knowledge, and strives for distinction, he remains highly conscious of how he is perceived. Riddle very rarely displays vocal indicators of aggression or anger, instead learning to use his charisma to get what he wants, as Dumbledore says the following about Riddle’s skill in this regard:

“He showed no sign of outward arrogance or aggression at all… He seemed polite, quiet, and thirsty for knowledge. Nearly all were most favorably impressed by him.”

Teenage Tom Riddle, preserved as a horcrux, confirms that he used his charm to manipulate starting from a young age:

“If I say it myself, Harry, I’ve always been able to charm the people I needed.”

His high tone becomes a key feature of his voice in his teen years and above, and the most negative descriptors used for his tone (e.g. “dreadful”, “dangerous”, “malicious”, “cruel”, “inhuman”, “merciless”, etc.) don’t appear until Riddle himself becomes inhuman and creates his first horcrux, the diary.

Another notable feature of Voldemort’s vocalizations is his amused tone. Voldemort’s laugh and amused tone only emerge in Riddle’s teen years; it seems Riddle may not have had much reason to laugh in the orphanage. But Riddle/Voldemort as a teen and above relishes wielding his power, and often laughs as he faces others’ distress. He has a dark, sinister sense of humor and delights in irony (when he recognizes it). Riddle/Voldemort’s humor is not simply performative; he indulges in it even while alone with his victims, and clearly finds himself hilarious.

As the years go on and Riddle remakes himself into Lord Voldemort, he loses the need to impress or charm authority figures and emerges as one himself. For example, when Voldemort returns to Hogwarts to request the DADA position, Voldemort no longer bothers to strike a polite or pleasant tone in an attempt to persuade, instead speaking softly and contemptuously. Compared to Riddle, Lord Voldemort is more likely than ever to speak softly, with descriptors denoting his youthful impatience and politeness all but disappearing and “cold” and “high” becoming ever more prominent.

After Voldemort’s initial defeat, when Voldemort exists as a spirit and in his rudimentary baby form, the most common description of his voice is “cold” or “cool”. There is also a lack of contemptuous descriptors of speech in Voldemort’s non-corporeal form; perhaps he is too weakened, too dependent to engage in his usual sneering and jeering.

Upon his regeneration in Goblet of Fire, Voldemort’s anger is close to the surface and emerges more often in his vocal indicators; Voldemort has been severely disappointed by his followers, and doesn’t hold back. Voldemort’s angry vocalizations peak in Deathly Hallows, as Voldemort embarks upon attempt after attempt to kill Harry Potter, and fails.

Misc. notes: There is a notable similarity in the vocal descriptions of Voldemort, Lucius Malfoy, and Severus Snape, as all three men have a tendency to speak softly/quietly and coolly/coldly/icily. @saintsenara (x) and @sideprince (x) have suggested Snape’s quiet, cold intimidation was learned from Voldemort, and it’s very likely Voldemort, as the most significant influence on these men’s lives for a time, served as a model for one or both of them.

There are some interesting differences, however. Lucius is somewhat more likely to speak contemptuously (sneering, jeering, drawling), and Snape is more likely to speak impatiently (sharply, curtly, barking, interrupting). Another distinction between the three is the tendency to express positive emotions vocally, or to laugh. Lucius, though his tone may hold delight, rarely laughs. Snape never expresses any delight vocally, and never laughs. Snape has the most varied descriptors of the three (almost 2x as many as Voldemort, and about 2.5x Malfoy’s), which makes sense given his relative presence in the story, as well as his more complicated characterization.

*This is by no means meant to be the definitive, exhaustive analysis of Voldemort’s speech. This was completed doing simple searches for dialogue with “Voldemort” and “Riddle” and Harry’s dreams/visions, so it’s entirely possible that I’ve missed a couple instances.

[godf4g]

hiiiii amelinda i’m a huge fan!!! i’ve been rereading LS while you write bc i just love it sm ^w^ and i have a lil question. harry being bisexual is rlly popular in the fandom from what i can tell, so what led to the choice to make him gay in your fic? as a gay harry truther i love to see it, but it’s so hard to come across in fic!!! so i’m curious :P

This was super fun to answer, thank you. ( ^v^)/ ❤︎

We made Harry gay because, in the setting, he felt gay. It wasn’t a given for him like it was for Tom; I waited to see how he developed, and he got gayer and gayer the deeper I went into his psyche. Bisexual Harry would've had less pressure and an off-ramp; he could’ve dated Hermione and gone on pretending forever, and I think he would have. 

Elaboration beneath the cut. Also inviting @k3uuu to add her thoughts!

Canon Harry Potter didn’t like to rock the boat—he simply couldn’t bear witness to injustice without doing something about it. So Lover’s Spit Harry is the same: he doesn’t want people to think he’s weird, so he’ll avoid that if he can. What he won’t do, however, is blindly agree with others or lie. He can’t pretend to be something he isn’t, but he can keep quiet and fade into the crowd. The exception comes when the terms of silence mean further complicity in what he sees as an injustice (i.e., Tom bearing the brunt of the village's hypocrisies). His 'coming out' journey is the real gateway to how his entire relationship to, and with, Tom unfolds.

I also like the idea of Tom ‘marking’ Harry as his ‘equal’ in the childhood marriage proposal scene; when Voldemort decided the prophecy spoke of little Harry Potter, it was because Harry was a half-blood, like him. That’s sort of how I imagine Tom sees gayness: he recognizes his likeness in it—he sees his likeness in Harry due to it—but, in his mental schema, the decision to affiliate with others is, in fact, a decision. He is not a member of the LGBTQ+ community—he is homosexual. Social categorization is a violation of his dignity, and this is why it's important for him to keep Harry safe from Cedric’s corrupting “evil” ideas, like transsexualism, feminism, fornication, bug-spreading, taxes, ad infinitum.

In the most recent update, I started lightly exploring how Harry contrasts. Canon Harry identified closely with his affiliations: he was a Gryffindor, a Quidditch Seeker, part of Dumbledore’s Army. I don't think he'll be painting rainbows on himself anytime soon, but he certainly doesn't share Tom's brute and rigid individuality. He looks at Neville's little earring and colorful pin and wants to know if he's gay, too 👀 ?! If Cedric weren't so judgmental of Tom, Harry would have been quite open to friendship and learning more about what it means to be gay in the greater social context.

[marvohlou]

just reread mudlark for the 6th time and goddddddds i love the way you write tom. i would die to read more fics from you

This was so sweet of you to send in (╥ ω ╥)♡ Thank you. I’m so glad you enjoy my rendition of our dear Tom. I’ve been so busy but I miss writing him so much! Especially for lovely readers like yourself

[mynorthernattitude]

rage bait idea: like your own texts during an argument

[maririel]

Wherefore they are no more twain, but one flesh.

[marvohlou]

love your pronouns

live loving les till the sun dies

[prreskaa]

[morsima]

Tom riddles passive vs active victimhood

If u saw me post this before, no u didnt

A unecesarry long analysis of Tom psychology based on one quote (i’m also gonna go into headcanonland a bit, so)

English isn’t my native language and i suck at explaining so FOLLOW ME (pls)

I find this single sentence from teenage Tom Riddle always so interesting. Although his relationship with his mother can be analyzed here as well, I want to focus on his father.

The language he uses is interesting in this scene because he does not say that his mother was abandoned or that his father left his mother. He says that HE was abandoned. His mother is entirely passive. He doesn't connect his father's leaving to his mother, it's HIM who the father chose to leave. While leaving a pregnant wife does suggest abandoning the unborn child as well, Tom Senior fled specifically because of his wife. Tom Senior's action was of Merope, yet Tom bypasses her to frame himself as the primary target, and only target of abandonment.

Tom is twisting this event because it serves as a projection of his own experience. But what is he projecting exactly? He gives a hint at the second part of the sentence: the reason was that she was a witch. This detail is importand, as magic is a significant aspect of Tom’s character and he projects his own experiences onto his mother’s fate. What he believes happened to his mother, who is disliked for possessing magic in his imagination, mirrors his own experience growing up in the Orphanage. Tom’s Magic led the other children and authoritative figures to perceive him as odd, insane, mad and therefore scary and frightening. All descriptions are charged with negative connotations that cause others to distance themselves as he is something dangerous and best avoided. Even if Tom didn’t have a name for it before Dumbledore arrived, he recognized that this thing, this something that set him apart from others, was wrong. Rather than elevating his status, it had the opposite effect. He became less desirable than before he started using magic. People started to distance instead of noticing him.

This created a profound personal wound within Tom, and to cope with this injury, he convinced himself that this "wrongness" made him special (also to challenge the group identity common in these facilities by creating his own individual identity, but that's not relevant for this projection). He could do things only found in fantasy books, stories, and legends. He was something mythical. And if you are something mythical, then the opinions of non-mythical people and the names they call you no longer matter. This coping mechanism sustained him until he was 11 when his uniqueness was confirmed. However, despite this validation, years of internalized shame meant he already ingrained in him that his magic made him “wrong” in the eyes of Muggles, leading to inevitable rejection out of his control and rendering him a passive victim.

He claims this is what his father did and believes it explains what happened to his mother after he discovered her magical heritage. He projects his own experiences of social rejection due to his magic onto his father. His Muggle father is no different from the Muggle children who kept their distance from him. Instead of allowing this internalized shame to surface, he constructs a grand narrative that his and his mother's magic was simply too overwhelming for Tom Senior. He convinces himself that Tom Senior recognized his superiority, leading to his departure. In doing so, Tom reclaims his agency because rather than being a passive victim with no control over being socially rejected, like orphan-Tom, he convinces himself he was an active threat, like Voldemort-Tom, that he himself FORCED the other person to leave. HE was in control in a situation although in reality he was in fact powerless (he does that later too to the other children in the orphanage). He was simply too extraordinary for the common Muggle.

There is another dimension to the word “abandonment”. The word itself is a strong and charged term, especially for something he didn’t personally experience in the literal sense from his father, but which resonates deeply with his subjective experience of neglect. It evokes images of something or someone left behind, forgotten, completely given up, and neglected. Consider an abandoned car, for instance, which begins to decay, corrose, rust, and become dirty due to it’s environment. It mirros Tom’s subjective experience in the Orphanage. He is left to rot in the commoness of Muggles who percieve his magic as a defect. In such surroundings his magical essence is decaying and he himself is starting to wither the longer he remains there.

Perhaps he hopes that one day his family comes to rescue him from this place that makes him corrode, rot and decay (or he will find them). It’s not uncommon for orphans to fantasize about their families. Tom likely spent time dreaming that his biological family was as special and unique as he is which ties into his need for external validation of his own uniqness (general concept of a family, then possibly his father's side, then definetly the Gaunts). Little Tom doesn’t have to necesarilly firmly believe he has a living family. He might be aware that his family might not exist due to the lack of evidence, yet he indulges in the fantasy and dreams whenever he sees a family on the street, in the media, or in books, igniting his envy and want of a familial connection. This might occur even when he fails to convince a married couple to adopt him. It's another coping mechanism. It soothes him.

However, the dream of having a family stopped being the source of recognition and validation of his uniqness specifically once he discovered the wizarding world, with Hogwarts taking its place. But that doesn’t mean his longing stopped for a family that could save him from this rotten place. Now, in the wizarding world, he searches for the family he once idealized, assuming his mother was a Muggle and his father was magical. The reality was the opposite, forcing him to confront the fact that his magic doesn't spare him from the common fate of Muggles. And that his father isn’t this powerful wizard (like him), the more u idealize the more painful the disappointment is going to be. And he had this image in his mind for YEARS. He doesn’t have a reason to believe his father can save him, why would a Muggle save him? All Tom experienced from them was the opposite. He must have abandoned him just like every other Muggle ever did.

(Note: someone feeling abandoned / think they got abandoned doesn’t necessarily mean someone else left them physically. A perceived rejection can also be interpreted as being abandoned)

Now that only leaves the gap, why was his father not seen with his mom? He must have left her. What reason do you as a muggle have to leave a witch/wizard? Right, of course, magic! He simply feared the magic.

Another intriguing aspect to observe in this sentence is Tom's shift from his perspective, using "my mother," to adopting his father's viewpoint, referring to "his wife," while talking to Harry. This linguistic maneuver is intended to place Harry in his father's position, forcing him to agree with Tom's view of his father's coldness: not only for abandoning a "mother," but for leaving his own family, his "wife.", his own union. The aim is to elicit empathy and sympathy from Harry, leading him to agree that the father is at fault, not Tom. Tom seeks external validation to affirm that the rejection is not due to Tom’s magic (his “wrongness”) but his father's. A validation he cannot provide for himself internally.

Later, he seizes complete control of the abandonment narrative by killing him and corrupting his appearance with dark magic. By replacing his name with Voldemort and altering his appearance to look distinctly different from his father (and everyone else really), he erases the last evidence of their shared commonness. Now, he can no longer claim to have been abandoned as Tom actively takes measures to reject his father in return.

(Without sounding like a broken record, i just need to address this too because it's fascinating. Notice how Riddle keeps the "I" separated right before he speaks about his father? He creates linguistic distance between himself and his father even in his grammar. It reminds me how royals speak "I, Mr. King, hereby declare". It's formal, elevated and self-important. Next, he is devaluing his father with words like "fool" and "common." Tom communicates he is a powerful while his father is weak and ordinary common, he is showing Harry that he is superior to his father. But then the power shifts suddenly to his father the moment he admits he was abandoned? How does a common man abandon a powerful? It doesn't make sense again. For a short moment, reality threatens his self-concept: "I am special. I am unique. I am powerful." Now he is stressed, its creates a very uncomfortable feeling. He has to correct the slip because he can’t accept the reality yet. And he does by explaining "Well, it was only because I have this very powerful thing called magic! “ All good, he is on the throne and his beliefs about himself are true again!)

Thank you for listening (๑✪ᆺ✪๑)

[golden-biro]

Dead on the inside.

What started as anatomy practice, obviously turned into whatever Tom this is.

[maririel]

oh… he does not want to share.

[ellooo0ooo]

Little boy Tom at the orphanage

[moodledolly]

tomarry tangle

[srichitr]

B&B Tom

[tomegamort]

Ω 🔥Tomegamort Fest '26🔥 Ω

An Omega Tom | Omega Voldemort Tomarrymort Fest conceived by Bagel (houndsofheaven) and hosted by Mick (alexipharmic) & Cee. 

With a slip of my scent and a tilt of my head, you moan my name and fall beneath my spell.

Omegas can be submissive and demure, the more gracile of the three dynamic genders of alpha, beta, and omega.  They can be discriminated against, abused, and even enslaved.  But they can also be gifts to their pack - a fertile broodmare, a nurturing matriarch, an inciting treasure to be fought for - catered to, pampered, and beloved. 

For more cool events, check out the Tomarrymort Events discord server: [Invite Link]

🔻🔻🔻Information, timeline, rules, and more below the cut🔻🔻🔻

This is an an open, moderated, prompt meme challenge to be revealed May 18th.

Prompting, claiming, and posting will happen on the Tomegamort collection on AO3.

Prompting: March 23 (12:00 AM GMT+00:00 UTC) - April 05 (11:59 PM GMT+00:00 UTC)

Claiming & Writing: April 06 (12:00 AM GMT+00:00 UTC) - May 17 (11:59 PM GMT+00:00 UTC)

Fics Revealed: May 18 (12:00 AM GMT+00:00 UTC)

Collection Closed: June 18

Any interpretations of omegaverse (traditional, non-traditional, etc.) is welcome so long as Tom | Voldemort is omega-presenting

Works must include Omega Tom and/or Omega Voldemort

Works must also include Tomarry, Harrymort, and/or Tomarrymort

Works where the main ship involves Tom/Voldemort with someone other than Harry will be excluded from the collection

Use of AI is not allowed (editing programs like Grammarly are OK) 

Any rating is allowed

Dead Dove content is allowed 

Minimum length: 1000 words

Maximum length: None

Complete works only

Choose from the prompts or make your own story

Multiple claims to one prompt is allowed

Please complete one claimed prompt before claiming another 

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