Please note that these are not necessarily in order of when they’ll be released.
Coup de Foudre ~ Teen Wolf ~ On hold
Eira Einarsdottir, the merciful Witcher, devotes her life to traveling the world saving supernaturals after someone she loves is killed by hunters. After two years she and her pack arrive in Beacon Hills and Stiles finds himself quickly falling for the protective blue eyed alpha.
(Stiles Stilinski x OC)
The Lion’s Heir ~ Harry Potter ~ On hold
Very few people believe Harry when he says Voldemort is back, but maybe this confident little redhead with golden glasses does.
(Harry Potter x OC)
Survivor ~ Avengers ~ On hold * maybe re-writing
ban·shee
/ˈbanSHē/
(noun):
a female spirit whose wailing warns of an impending death.
(Loki x OC)
To Boldly Go ~ Star Trek
Space, the final frontier.
All Lerona O’Hara has ever wanted to do is help people, but she supposes that’s a given being half Betazoid. That, and exploring the vast beauty of space. She just didn’t expect to hit so many bumps in the metaphorical road.
(James T. Kirk x OC)
Cherry Red ~ Teen Wolf
Madelaine Martin has secretly always had a soft spot for the asthmatic Scott McCall and his hyperactive hopelessly-in-love-with-her-twin-sister best friend, Stiles Stilinski. So she notices rather quickly when they suddenly start acting strange.
(Scott McCall x OC)
Juniper ~ Detroit: Become Human
Detective Juniper “June” Mcallister quickly finds her life taking a drastic turn after meeting the new Cyberlife Android, Connor.
(Connor x OC)
Prim’s Pick ~ The Hobbit ~ Finished
In a hole in the ground there lived a hobbit..
(Bilbo Baggins x OC, one shot)
Azaghâl ~ The Hobbit
( 1 ) ( 2 )
A family forever standing as a shield to the line of Durin protects them still, as Jon follows Thrya and their kin on a perilous journey to retake their homeland. Starting in the cozy little hobbit hole of one Bilbo Baggins.
(OC x OC)
Athena ~ Avengers
Cut off one head, two more shall take its place.
Deep in the Ozark Mountains there is a mansion. A mansion so shrouded in secrecy and security that the world around it has no clue it houses one of Hydra’s most unique creations.
(OC x OC)
Friendly Foes ~ Avengers
The son of a billionaire industrialist, and the youngest daughter that survived the bombing of her home.
(OC x OC)
Of Eden ~ Teen Wolf
-description pending-
(Scott McCall x OC)
The Graceful Queen ~ The Chronicles of Narnia
-description pending-
(Caspian x OC)
Bend ~ ATLA/The Hobbit crossover
-description pending-
(Fíli x OC)
Fade Into Me
( 1 )
Lyra remembers almost nothing of her life before Varric Tethras found her in the rubble of her home beneath a fade tear. But her life after, and the family she made, makes up for it.
Only, now she must stop someone in her family from ending the world as they know it.
fandom etiquette as a whole died when people who didn’t grow up on fandoms became stans during lockdown, yes, but why am i seeing people openly mocking fics on twitter. why am i seeing screenshots of fics with captions like “bro what is this 😭.” why am i seeing people mock fic writers for not knowing how sports or theater or college or any other organization operates in the real world.
“college is absolutely nothing like this” “why are we writing four people on the team scoring a hat trick in one game” “so tech work is nothing like this, hope that helps!”
if you don’t like a fic, and if you can’t suspend your belief enough to enjoy a fic that exaggerates or ignores real-world orgs, you don’t have to read it. you don’t have to screenshot it and put it on blast for twitter. you don’t have to post a link to it in the replies. the back button is literally there on your phone. it’s not giving baby’s first fandom anymore, it’s giving entitled asshole and it isn’t as cute as you think it is.
It’s just the dialogue so far because I literally just wrote it down, but ouchie ouchie I just rewatched Heroes: Part 2 and-
“You know I died in this room? Ascended. Dr. Fraiser did everything she could. I mean, she went three days without sleep. Even in the end she didn't wanna let me go.
And then, eight months later, my.. my son was born in this same room. It was Janet’s idea, to bring some light back into it. So Rennala could stop avoiding it. So she could walk past it and not only remember losing me, but remember bringing our little boy into the world.
That’s just the kind of person she was. She took care of people. I owed her a lot more than I ever gave back.
I thought a lot about what you said about Kristofski. I think this shows what Janet Fraiser was all about.”
Not sure why it's a new trend among fic readers to assume if the fic has not been posted within the week it's inappropriate to comment on it, like the fic has to be hot out of the oven to give feedback for.
I got a comment on a fic that is less than a year old and it was mostly an apology for being a comment on an "old fic" and how late they were in commenting.
Just comment on the fic. Doesn't matter how old it is.
Idea: psychic or otherwise indefinable spider sense in a story that's written using formatting rather than words. The characters picking up on something they couldn't describe or put into words, a subtle difference in the air.
Like, instead of;
"So I was thinking-"!!! He paused, unsettled. Danger!
It'd be;
"So I was thinking-" he paused, unsettled. Danger!
And then as it got worse it could transition into more overt differences than I could do on tumblr, and in moments of constant danger/sensory overload - like, say, in a fight, it could be a solid paragraph of (for example) bolded text.
It'd be most useful for constant but subtle cases, like a telepathy the character can't turn off, or actual spider sense in a fic heavily focused on his powers, to portray the little things that spark senses or hover at the edge of perception and peripherals without constantly breaking up the text with interjections, and to better incorporate the smaller details. Or if you don't want to portray the sensitivity as having words or communicating but as something hard to translate that they might have to deduce, or that isn't clear right away to the reader.
The man nodded idly as they came to a halt next to him at the bus stop, one hand loosely trailing a cig and one hand in his pocket. He glanced over, and his eyes flicked briefly to Mary .
The non tonal emphasis placed on the words highlight to us the dangers in much the same way they would to the character. Instantly, we get an idea of the danger, what it is, and how it's most likely going to happen. But we don't know what form that danger will take (is the man carrying a knife, a gun, or just his bare fist? Is he thumbing a lighter?) why the danger is here (opportunistic, or a pre planned target? Have they met the man before?) or what the goal is (kidnapping, murder, or theft?) or even when the danger will become immediate, only that it is imminent. These are all answers the pov character will be seeking, and there is no clear path out given by the information, no 'interrogation' the character can give to the 'voices' and the reader has no grammar or word choice to pick apart - they only know exactly what the character does, and in the same words as the narration of the man.
It won't work for every situation, especially not, say, a situation where it's working in the opposite direction - picking up on microminutae that they need to translate into probable outcomes - but for that indefinable, pay attention! sort of narration, something that in visual/audible formats can be portrayed in squiggles around their head or the danger, sound effects, even music cues. In writing, including asides or purely sensory elements is a lot harder, and subtly doing so without breaking the flow with interjections is really quite difficult.
Okay, American immigrant to the UK here to explain all the mistakes from Paul Hollywood happening here: there is one fundamentally American ingredient required to make a s'more correctly but which is basically not available anywhere at all in the UK, and that is graham crackers. A plain digestive biscuit close-ish, but still a very different beast.
From Wikipedia: A graham cracker is a sweet flavored cracker made with graham flour.
The next ingredient (which is also extremely traditionally American but slightly more variable) is typically Hershey's chocolate, but you could probably swap this out in the UK with any plain chocolate bar.
Last ingredient is big marshmallows, the kind you do the chubby bunny challenge with, like the size of your thumb and twice as thick.
A proper s'more, the most traditional possible variety, involves to graham cracker squares, two slab segments of Hershey's chocolate, and one to two marshmallows depending on your preference for filling and gooeyness. You put a slab of chocolate on one of the graham cracker squares. Your marshmallows should be toasted, usually over a campfire but if you're doing them at home over a gas stove burner is fine, but the fire part is critical. You can toast them to whatever degree you like, some people like them nice and golden brown but still kind of firm in the middle, me personally? I want that bitch to CATCH ON FIRE, I want it gooey and sticky as hell in the middle, crispy and burnt on the outside. Slap that motherfucker on your graham cracker and chocolate square, top with the other one so your marshmallow and chocolate are sandwiched together by graham cracker on the outside. You do this with your freshly toasted marshmallow because ideally it will be hot enough to start to melt the chocolate so it sticks to the marshmallow and the graham cracker and, combined with the gooey marshmallow, it keeps the whole thing together, and for that reason some people will let them sit for a hot second to let the melting process happen (especially if like me you have chocolate on BOTH graham cracker squares, not just one, because you're a sugar fiend), but if you are a young child you do not have that degree of patience and you eat that shit immediately, unmelted chocolate and all. Consume your summer camp delight like a tiny club sandwich, get gooey sticky marshmallow and chocolate all over your hands, and enjoy.
Important note: this is a kids treat. It is a traditional summer camping trip dessert. It should be something any ten year old with adult supervision and access to the ingredients can make (and make a mess of). They're called s'mores because kids always "want s'more". If you are using a blowtorch, chocolate biscuits, and merengue, you are so far beyond the bounds of s'more-hood that you have thoroughly lost the plot. If you offered Paul Hollywood's concoction to an American child and called it a s'more, they'd tell you flat out that not only is it not a s'more, it looks dumb and you didn't do it right because it's not gooey.
the point is the mess. the point is getting to make a food, at age seven, whose two basic food groups are 'sugar' and 'fire'. the other point is that this food item is so crumbly, chaotic, sticky, on fire, and prone to being dropped (outside, in the dark, while you are surrounded by other children who are also sticky and on fire) that your supervisors cannot accurately monitor how many smores you personally have consumed. the point is also that you may get away with a smore that is five blocks of chocolate and two marshmallows if you move fast and let nothing stop you.
if you haven't accidentally yet unrepentantly eaten a chunk of twigs or dirt or a bug that got enmeshed in the creative process around smore number 3st, you are too old to have any legitimate input into what makes a smore.
There's 2 other points that I think are important.
The first is that you don't pull the marshmallow off the roasting stick and somehow put it on the chocolate. Your staging area will look something like this, with the graham crackers and chocolate already set out (though not usually on the fire like this, for us it was always someone's lap or a picnic table or something)
And when your marshmallow has reached appropriate roasting perfection, you use the graham crackers to slide it off the stick.
and ideally, as a CHILD you are using a literal stick. Like you walked around and spent time looking for The Perfect Stick off the ground while the adults set up the fire. It has to be thin enough the marshmallow will fit, sturdy enough that it won't bow, long enough that you won't burn yourself roasting your marshmallow. And preferably doesn't have a lot of bark that's sloughing off, OR so much bar sloughing off you can peel it all back and get to the clean stick under it. If you're smart, you might stick the tip into the fire first to "wash" it/burn off anything that was still lingering, but. well, most kids don't.
When you bite in, the marshmallow and chocolate SHOULD ooze out all over you. If you don't kinda look like this eating it, you've probably done it wrong:
The description of the marshmallows as being either brown on the outside but still firm on the inside or fully melted but burned on the outside is missing the true art: fully molten in the middle, without the black burns. Not to say OP is wrong for preferring the burn! But there is a technique for perfection and it goes like this:
You find a spot, not above all the logs where everyone sticks their marshmallows by default, but at the heart of the fire. Ideally between a couple logs already glowing gold. Something like here:
Below the leaping flame. Near the logs. There's probably only one or two spots good enough for this on any given fire, but that's okay because everyone else is up above. They will get their marshmallows faster. They will be either firm or burned or both. That's not your goal.
Rotate the marshmallow slowly. Ideally come in at an angle so the part closest to the flame is the side, not the tip. The spot closest to the fire is the spot that turns a crispy golden brown, and you want that everywhere, on the tip and around the circle.
You keep going, slowly turning, for several minutes. Several people will rotate in and out of the higher sections, getting their fast delight. Eventually, your marshmallow will start sagging badly, risking falling. Maybe it does fall and got start over. But eventually it will be golden brown all over, and so liquid it no longer clings to the stick. It is ready, finally.
You say "who hasn't gotten one yet?" And deposit it onto their waiting graham crackers and chocolate. You've made an excellent marshmallow. It isn't for you. Get another while you're over by the bags and go back to the heart of the fire.
That's your evening. One, slow, perfect marshmallow at a time, given to whomever still wants s'more. You're making art for children to stuff into their mouths cheerfully. You're watching the movement of the fire and the heat of the logs, like you would if you were maintaining it — maybe you would be, maybe you were the one who built it — but right now that's not the goal. Let someone else put more logs on, while you take only the one stick and find the best spot for it to live.
You will, eventually, finish a marshmallow and find that nobody moves to accept it. Maybe they're all eating right now, or maybe they've gone through so many they're hesitating. Eat your masterpiece then. Enjoy it, the hardest and most perfect result from a fun and beautiful moment. Go back in for another, until you've run out of marshmallows and the fire is too low or until even you are done with s'mores, until you have made enough.
"We don't want a gooey mess" pfft even the artistry studied at the feet of my father is inherently a gooey mess. That's the whole point!
I really want to paint some vines and flowers going up my cane, but I’m so nervous about free handing the vines because despite the fact that vines are supposed to look irregular and not perfect I’m a perfectionist with my paintings and if they look too squiggly I’ll hate it-
