WritingOnesDreams

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[thepeacefulgarden]

[luna-azzurra]

10 Lies Your Character Believes About Themselves (And They’d Die Before Admitting It)

These aren't the fun, Disney Channel lies like “I'm just a regular girl” while literally being a secret pop star. These are the ugly ones. The ones that get in your character’s blood and start rewriting their whole life without them noticing.

» “If people really knew me, they'd leave.” Not "might." Would. No question. So they smile bigger. They edit harder. They keep conversations surface-level. All while carrying this bone-deep certainty that love is conditional... and they are dangerously close to failing the test.

» “I have to earn every good thing.” Rest? Happiness? A day without guilt? They treat those things like prizes at the end of a brutal obstacle course. No one told them they could just have good things. No strings. No blood price. (So they keep bleeding anyway.)

» “I'm too much.” Too loud. Too intense. Too sensitive. Too complicated. They know it. They've been told. So now they pull themselves in, hold their breath, bite back everything real until they barely take up space at all. (And ironically, they still think they’re being "too much.")

» “I'm not enough.” Neat little trick, right? They’re both "too much" and "not enough" at the same time. Magic. They're convinced everyone else got the secret manual for how to be lovable and they somehow missed it.

» “If I'm strong enough, nothing can hurt me.” They call it resilience. Other people call it stubbornness. Reality calls it self-destruction. They've mistaken numbness for healing and independence for invulnerability. But hurt still gets in. It just hits harder when it’s been bottled up for years.

» “I’m responsible for everyone's happiness.” Caretaker. Peacemaker. Therapist friend. Emotional sponge. They’ve appointed themselves as everyone's safety net, believing that if they don’t hold everything together, everything will fall apart. (Newsflash: it's not their circus, and it never was.)

» “I don't need anyone.” Need is a dirty word. It’s weak. It’s dangerous. So they white-knuckle their way through life, collecting scars and pretending it’s freedom. But late at night? In the dark? They’d sell their soul for someone to just... stay.

» “I'm the villain in someone else's story and they might be right.” They know they've hurt people. Made bad calls. Left damage. And no matter how much good they do now, some part of them whispers, You don’t get to come back from that.

» “My best days are behind me.” Whether they peaked in high school, lost their shot at something important, or just carry a chronic ache of nostalgia, they believe it’s too late. That nothing good can be built from where they are now. (Which, ironically, makes them waste even more time.)

» “This is as good as it gets.” They settle. For bad love. Boring jobs. Half-dead dreams. They tell themselves it's "realistic." "Mature." "Practical." But underneath? It's fear. It's heartbreak. It's the quiet belief that hope is something they can’t afford anymore.

[creativepromptsforwriting]

May Prompts 🌺

Word prompts to use for doodling or writing

strawberries

adventure

golden hour

lake house

picnic

mayflower

nostalgia

homecoming

juice box

farmer’s market

morning light

birdsong

drive-in theater

island

photographs

riptide

coffee-to-go

tree house

instrument

cerulean

porch

animal shelter

lemonade

potted plant

spirit

milkshake

orchids

field

petrichor

sketching

memory lane

[creativepromptsforwriting]

Monthly Prompt Lists

[luna-azzurra]

Soft prompts to make you YEARN

✭ brushing your thumb over their knuckles while you're both not saying a word, just existing quietly in the same space like it's the most sacred thing.

✭ them absentmindedly playing with the hem of your sleeve because they want to touch you but aren’t ready to say it yet.

✭ “can i kiss you?” whispered like they’re afraid the moment might shatter if they speak too loud.

✭ their voice cracking just a little when they say your name for the first time in a long time.

✭ them resting their forehead against yours and just… staying there. No words. No movement. Just breath. Just nearness.

✭ sharing headphones and they keep looking at you during the best part of the song. you don’t even know what the song means to them but suddenly it means everything to you.

✭ "stay the night?" said so soft it might’ve been a wish.

✭ dragging their fingers gently down your back like they’re trying to memorize the map of your spine.

✭ tracing your features with their fingertip like you're a sculpture in a museum and they were not supposed to touch you, but god, they can’t help it.

✭ “don’t leave yet.” not because you’re going somewhere. but because being with you is the safest they’ve felt all day.

✭ their voice in the dark. low. quiet. like the night is just for you two.

✭ "this reminded me of you" and it’s just a stupid rock or a weird leaf but you hold onto it like it's a diamond because it's you to them.

✭ laying in bed, face smushed into the pillow, sleep-drunk and murmuring, “you make me feel like i’m home.”

✭ them looking at you like you're not just a person, but their favorite story. one they’ve been rereading since forever and still keep finding new parts to fall in love with.

[pantserspen]

Stages Of Writing A Love Story

1. The Setup (Separate Worlds)

Each character is introduced in their own emotional world. We see:

Their wounds, needs, and flaws

What they want vs. what they actually need

Why love is currently not working for them

This stage sets up why the romance matters.

2. The Meet Cute or First Collision

They meet in a way that creates friction, curiosity, or disruption. This can be cute, hostile, awkward, or intense — but it must change something for both of them.

3. Attraction and Tension

They feel drawn to each other, but:

There are obstacles (external or internal)

They deny, resist, or misinterpret their feelings

Chemistry builds through proximity, conflict, or emotional glimpses

This is the slow pull stage.

4. Forced Proximity or Emotional Intimacy

Circumstances push them together:

Working together

Traveling together

Being trapped together

Sharing secrets or vulnerability

This is where emotional bonding starts, even if they don’t admit it.

5. The First Shift (Romantic or Emotional Breakthrough)

A moment changes the nature of their relationship:

First kiss

Confession

One saves the other

A moment of deep understanding

After this, the story is no longer “will they notice each other?” but “what does this mean now?”

6. The Honeymoon or Hope Phase

Things feel good. There’s closeness, trust, or passion. The reader is allowed to believe the relationship might actually work.

This makes the coming conflict hurt more.

7. The Break (The Black Moment)

Something shatters the relationship:

A betrayal, lie, misunderstanding, or revelation

A fear or wound resurfaces

External pressure pulls them apart

This is the emotional low point of the romance.

8. The Growth and Choice

Both characters grow:

They confront their flaws or fears

They choose love intentionally, not accidentally

They become capable of sustaining the relationship

This is where love becomes a decision, not just a feeling.

9. The Reunion and Resolution (HEA or HFN)

They reunite with honesty and emotional maturity. The story resolves with:

A Happily Ever After (HEA) or

A Happy For Now (HFN)

The emotional promise of the genre is fulfilled.

✦ Why This Structure Works

Romance isn’t just about attraction — it’s about emotional transformation through love. Each stage:

Builds intimacy

Introduces risk

Forces growth

Rewards vulnerability

That’s why it feels satisfying.

[pantserspen]

How to Fix Underwriting

1. Slow down at emotionally important moments.

Big emotions need space to land. If a scene feels rushed, pause the plot briefly to show how the moment affects the character.

2. Add reactions, not explanations.

Instead of explaining what a character feels, show it through physical responses, hesitation, or small actions that reveal emotion naturally.

3. Ground every scene in the senses.

If a scene feels thin, add one or two sensory details—sound, texture, smell, or temperature—to make the moment feel lived-in.

4. Let thoughts interrupt action.

A line of internal thought can deepen a scene without slowing it too much. Thoughts show stakes, fear, longing, or conflict beneath the action.

5. Expand consequences, not events.

You don’t need more things to happen—you need to show what matters. Focus on how events change relationships, decisions, or self-perception.

6. Strengthen setting where emotion peaks.

The environment should echo or contrast the emotion of the scene. Setting is not decoration—it’s emotional reinforcement.

7. Add specific details instead of general ones.

Underwriting often relies on vague language. Swap “they argued” for one sharp line of dialogue or a specific breaking point.

8. Let dialogue breathe.

Short dialogue exchanges without pauses can feel flat. Add beats—silence, gestures, interruptions—to give the conversation weight.

9. Show transitions between scenes.

If scenes jump too quickly, readers feel disoriented. A brief transition helps establish time, mood, and emotional continuity.

10. Clarify stakes early in the scene.

If readers don’t know what can be lost, scenes feel empty. Make sure the character wants something specific and fears losing it.

11. Use the “what are they feeling right now?” check.

After each major beat, ask what emotion is dominant in that moment. If it’s missing on the page, the scene is likely underwritten.

12. Expand scenes that feel “too clean.”

If a scene resolves too neatly or quickly, it probably needs more tension. Messy emotions and unresolved feelings add depth.

[writingonesdreams]

Avatar 3: Fire and Ash review (spoilders ahead)

There is so much going on, it's so rich in content, moral dilemmas and relationship dynamics it's hard to pick what to write about.

Criticts complain the movie lacks narrative urgency, and I agree and disagree on this. Avatar 3 is more than any of the previous films, a character study movie with crazy good animated action and adrenaline rides, focusing on each of the family members in detail, giving them arcs, relationships, and progress. I enjoyed these spiritual arcs and personality challenges profusely.

Whole L'oak takes over as narrator, Jake and Neytiry stay strongly focus, even more than in Avatar 2 and I loved that. They both deal with Neteyam's death, their failures, the consequences of what that means in a believably different ways, turning against each other only to prove how incredibly powerful their love is.

I loved Jake's arc. His reluctance to "become one with the beast" as Toruk Makto, the only acceptable way for the peaceful and ferocious Na'vi people to fight, but also unable to as a marine at heart, to do anything else. He grabbed onto human weapons and expertise he knows best, only for the Ometikanya people to reject the poisonous steel. This was a beautiful contrast to the Ash People's brutal crazy wonder with rifles and destruction.

Jake is feeling the failure of not being able to protect all his children, and he lashes out in his guilt at L'oak. Their fights broke my heart, because nobody blames L'oak as much as the boy blames himself and hearing that from Jake almost drove him into desperation. I was so sorry that Jake couldn't find in himself anything to say to L'oak, as he had done everything to spare and shield his children, only for them to throw his effort at his feet and risk themselves anyway, and L'oak does, admittedly, lead the disobedience.

At the same time L'oak is so ridiculously unprepared and lost, when thrown into the position to lead that I found his helplessness strangely endearing.

I actually liked all the children much more than in A2. I found them mostly annoying before, but now they all had more roles, stronger arcs, real struggles, and actual contributions.

I couldn't fathom what Spider was there for, but I loved him here. His curiosity and innocence and smartness, his love for Jake and his family, his bravery and compassion and readiness to fight and sacrifice himself for them...it was all very touching.

Not to mention the outstanding conflicts he presented for Jake and Neytiri. Spider is such a human kid for Jake, he sees himself in him and I loved how he reminded the hate-consumed Neytiri of how Jake was a human inside still and that all his children were partly so, so hating humans meant hating them. That Jake doesn't deny his own humanity touched me deeply.

His realization of the necessity to kill Spider to protect Pandora was so tragic...I was truly scared he would do it, kill the boy, the kind kind boy who would even accept it as necessary, who trusts Jake to be the good guy even as the man holds a knife to his throat...who just cares about being loved in the face of death....

But I love that Jake wasn't able to do it, that Neytiri was about to stop him, that they decided to not surrender who they are at their cores to the violence and cruelty of war. In the end that's all you can do as a person: live according to what you feel is right, stand up for it and give your all. Whether you win or not, going into that fight for all they believed in made them so incredibly strong.

Ronal and Neytiry growling at each other while helping each other is the funniest and sweetest thing ever. Ronal's death was brave and epic as her life and Neytiry's sharpness while offering her unconditional support and kindness was perfection.

Neytiry was so badass this movie. She always is but she got way too little screen time in A2; so this was a treat. From the air fights at the beginning to how she single-handedly freed Jake right from the heart of enemy steel strong-hold? Wow. She is the scariest, deadliest thing in Pandora and she loves Jake with that fierceness of hers and it's astonishing to watch.

Varang was super slick and creepy in the weirdest way, a great villain with charisma you love to hate. So believably insane, so good at being horrible. Quaritch and her truly suit each other. Evil meet evil in kinky power connection.

The parallels between Quaritch and Jake are much more evident. Jake is trying to let him see the world opening up before him, but there is certain charm to Quaritch insisting he never betray the human side, purposefully closing his eyes. The guy longs for destruction, much more drawn to the blood-thristy Varang then to Jake and the peaceful Na'vi ways, lol. But he has several likable moments and his initiative, illogical care for Spider is disarming in many ways. I wish he could come over to their side, be free of the "dead man's memories" at the same time the suffering he is willing to cause in his wake...yeah, it's a debatable topic.

[luna-azzurra]

On Writing Werewolves 🌓 Part One

[deverauxwrites-deactivated20251]

What Kind of Drunk Is Your Character?

1. The Emotional Floodgate ❖ Cries at everything: commercials, someone looking at them wrong, the fact that the moon is “too far away.” ❖ Huggy, clingy, desperate for reassurance. ❖ Their sentences spill out in run-ons; words tumble over each other.

2. The Laughing Hyena ❖ Everything’s funny, even the tragic shit. ❖ Inappropriate jokes, cackling fits, wheezing until they collapse. ❖ Often repeats the same joke three times, convinced it’s comedy gold.

3. The Philosopher ❖ Suddenly a poet or prophet. ❖ Rambling monologues about the meaning of socks, death, or the universe. ❖ May sound wise for half a second… then completely lose the thread.

4. The Fighter ❖ Belligerent, quick to take offense. ❖ Picks fights over imagined slights (“What do you mean my hat looks stupid?”). ❖ Loud volume, slurred threats, wild gesturing, maybe swinging.

5. The Charmer / Flirt ❖ Touchy, handsy, unfiltered compliments. ❖ Confidence triples while accuracy in pickup lines plummets. ❖ Thinks they’re James Bond; actually closer to a sloppy puppy.

6. The Confessor ❖ Secrets pour out: grudges, crushes, traumas. ❖ Apologizes for everything they’ve ever done wrong since birth. ❖ Might text their ex, or their boss.

7. The Zombie ❖ Slow, sluggish, heavy-lidded. ❖ Forgets mid-sentence what they’re saying. ❖ Leans on walls, drifts into micro-naps at the table.

8. The Energizer Bunny ❖ Won’t sit down. Dance floor addict. ❖ Loud “woo!” every three minutes. ❖ Wants everyone else to “keep up” when no one else can.

9. The Child ❖ Whiny, needy, throws tantrums. ❖ Demands snacks, complains about being tired, stomps feet. ❖ Often ends up napping in weird places.

10. The Daredevil ❖ Suddenly immortal. ❖ Climbing furniture, jumping into pools fully clothed. ❖ Every idea is “fucking brilliant” and usually dangerous.

[riverwriteswords379]

Ideas for character dynamics (Part 2)

A compilation of character dynamics I have accumulated over the years that you could put into your own writing. I found these from lots of different places, most of them were ones I thought of myself, but some I found on Pinterest/Instagram/online and wrote down.

For context, purple dynamics are ones that are most likely to have more than 2 people/beings in them.

Warning: mildly suggestive language

A depends on B and B reminds them of that when A gets too cocky

Flirty x unimpressed 

Fan x celebrity/important figure

Rivals forced to work together

Innocent smol x not innocent tall (or vice versa)

Angry smol x smug tall

Looks unfriendly but is nice x looks friendly but will murder you

I’ll protect you x teach me how to protect myself

Stoic bodyguard x flustered charge

Snarky power couple who know their power

Two hopeless romantics

Wants to do good x bad influence

Idiots pining after each other for years

Cannot do basic human tasks x forces them to (nicely)

Protective bodyguard x insufferable “protect me”

“They’re stupid but I love them”

Tall scary x short cinnamon roll

Unhealthily obsessed x oblivious

Partners in crime and bed

Dumb curious x serious genius

Unironic dumbass recruit & tired superior officer

Reckless x responsible

Single parent x their child's teacher

Traumatised tough person x tries to help 

Bikerboy/girl x bookboy/girl 

Tall cinnamon roll x small anger

Crime fighting duo

Crime committing duo

Mutual pining for years BUT THEN

Flirt x “I don't do romance” (they do)

Calm x excited cinnamon roll 

Ray of sunshine x ex bad guy 

Adaptable x stubborn

Affectionate x withdrawn

Bodyguard who’s always on alert x oblivious charge who practically runs into danger

Ambitious x unmotivated

Appreciative x ungrateful

Stoic x energetic

Cautious x reckless dumbass

Charming flirt x antisocial flustered

“The power of teamwork” x “I work alone”

Shared braincell

Traumatised :( x traumatised <3

Both had the same event happen but left it complete opposites (think Vi & Powder from Arcane - iykyk)

Fuck buddies but it's complicated 

Possessive serial killer x social butterfly cinnamon roll

Hurt my friend/lover/whatever and you’re dead duo

Two sidekicks who accidentally fell in love

The hero’s sidekick and the villain’s sidekick fell in love

We CAN kill you duo

Here is the link to part one.

Feel free to request anything for me to write/headcannon/bullet point/other format <3

Please be aware that I will not write nsfw content, incestual content, or minor x adult content.

[charactervsplot]

The 5 Parts of a Perfect Opening Page 🥇

1. The Who 👤

Who is your main character? Your opening should include their name, their age (if its relevant), and a defining trait/circumstance that is most important for the reader to know.

This could be that they have a magic power, that they just moved to a new town, or that they have a gambling addiction.

2. The Hook 🎣

What is the most interesting thing in your opening scene? It might be the action that your character is doing, but it can also be an event the main character is witnessing, or a certain aspect of the setting. The Hook should be in the first line and the story expands outward from there.

Think of it as the camera lens in a movie. What does the camera look at first? Then, what does it see as it pulls back?

Sometimes the Hook and the defining trait/circumstance of your main character are the same, but push yourself to make them different pieces of the opening even if they stay related. For example, if your defining trait is that the main character has a cool magic power, maybe the Hook is prank they are playing with their magic power.

3. The Where 🗺

What is the setting of the scene? Unless the setting is the Hook, you only need to paint with broad strokes here. Is it a city or a forest? A classroom or a distant planet? Communicate this as early as possible. Readers want to know they aren't just in the white void of the page.

4. The What 🌟

What does your main character want? This is the scene goal. Don't be afraid of stating plainly what the goal is. During the opening, readers want information fast. The scene goal is the the promise of a story worth reading.

For example, a character wandering through a party with no clear destination isn't a story, and it will only hold a reader's attention for so long. But a character who is searching a party for her boyfriend to throw a drink in his face as revenge for cheating, makes the reader invested to see how it will all play out.

5. The Type of Story 🪄

What is your story's genre? What is your plot's archetype? Mystery is a genre, but any genre can have a murder mystery as its plot archetype. You can have a fantasy novel about a heist. You can have a thriller about winning a competition.

Show both the genre and archetype as much as possible in the opening. Trust your reader to understand hints and genre conventions. If on the first page your character mentions being unlucky in love, the reader will know its a romance. If your character is practicing lockpicking for fun but swears they're retired from their bank robbing past, the reader will know its going to be a heist plot.

Go Forth and Write 📖

I challenge you to write a first page with these 5 elements included. For a more advanced challenge, do it in the first 2 paragraphs.

Happy writing!

[deverauxwrites-deactivated20251]

10 'Cut the Shit' Writing Tips You Probably Don't Want To Hear

Write like you mean it, then cut half. Your first draft is always bloated with words you thought sounded good in the moment. Get it all down, then grab the knife. Half of it is throat-clearing. The guts will still be there after you trim.

Verbs carry the weight, make them strong. "He walked slowly across the room" is nothing compared to "He dragged himself across the room." Strong verbs do the heavy lifting so you don't need adverbs tap-dancing behind them.

Adjectives are seasoning, not the meal. Pile on too many and you smother the meat. Use a few sharp, precise ones that bite. "A chipped coffee mug," tells you more than "a small, old, dirty, white coffee mug."

Dialogue = tension + subtext, not small talk. No one cares about the weather unless it's hiding something bigger. Characters talk to dodge, deflect, provoke, seduce, or wound. Strip it down to what hurts or reveals.

Description needs teeth, anchor it in real objects. Skip the floaty, vague mood-setting. Give me the cracked leather chair, the chipped countertop, the cigarette burn in the rug. Readers need something they can see, smell, or touch.

Kill your crutch words. Just, still, really, that, very. They're dead weight. Once you spot them, you'll see them everywhere. Slice them the fuck out. Your sentences will stand straighter without the crutches.

If it doesn't serve plot, character or mood, it's dead weight. That page you love about the rainstorm? If it doesn't push the story or reveal who your character is, it's a pretty corpse. Bury it in a notes file, not your draft.

Swearing is spice: use it to sting, not smother. A well-placed "fuck" cuts sharper than a dozen lazy ones. Overdo it and it's background noise. Swear when it hits like a slap, not when you're board.

Every sentence should earn rent on the page. Ask yourself: doe this line move the story, reveal character, or nail the atmosphere? If not, it's squatting. Evict it.

Stop polishing the first chapter forever. FINISH THE DAMN STORY. The beginning only makes sense once you know the ending. Draft messy, ugly, imperfect. Get to the last page before you circle back. Otherwise, you're just rearranging deck chairs on a ship that hasn't left the harbor.

[seaglasswrites]

Six Questions Every Writer should be able to Answer about their Characters

Stolen from megan.maclaine on Instagram

1. What’s one thing they’d never admit out loud, not even to their closest friend? Why?

2. When they’re alone, what habit, hobby, or ritual do they fall back on that reveals something about them?

3. What’s a small, seemingly insignificant detail that would give someone a window into how they think or feel?

4. If someone gave them exactly what they wanted, what would it be? What would they do next?

5. What triggers anger in them more than anything, and how do they show it?

6. What’s a believe that most people would find strange, frustrating, or surprising?

[deverauxwrites-deactivated20251]

How to Keep Your FMC a Badass (Without Making Her a Walking Cliché)

We’ve all read her. We may have even written her. Leather jacket, five knives, endless snark, but no depth. The FMC who’s “not like other girls”.

You want a badass FMC? Cool. But she needs substance, not just cool-girl props. Here’s how to keep her dangerous, capable, and not a cardboard cutout.

1. Give her skills, not vague “strength.” “She can fight” means nothing if we don’t know how. Hand-to-hand combat? Weapons training? Emotional manipulation? Lockpicking? Pick something concrete and show it in action. Specificity makes her competence believable, and memorable.

2. Let her be wrong. A flawless FMC is boring as hell. Give her blind spots. Let her underestimate someone, make a bad call, or get knocked on her ass. The point isn’t to humiliate her, it’s to make her human.

3. Control ≠ Coldness Your FMC can be emotionally guarded without being a brick wall. Let her have moments of vulnerability, but make sure she chooses when and with whom. Power is more interesting when it’s deliberate, not default.

4. Make her dangerous in her way She doesn't have to copy the MMC's style. Maybe he's brute force, she's surgical precision. Play with contrasts, it keeps both characters sharp.

5. Don't make her dominance cosplay. If she's dominant, let her stay dominant unless she chooses to give it up. Don't have her crumble at the first sign of male attention, that's not strength, that's a bait-and-switch.

6. Keep the romance from being her entire arc. She can fall in love with out losing her spine. Make sure she has goals, motives, and stakes outside the MMC. If he disappeared, she'd still have a story to live.

TL;DR: A badass FMC isn't built from a leather jacket and sass. She's built from capability, consequence, and control that feels earned. Make her human, make her flawed, and for the love of all things sharp, don't make her entire personality be "I'm not like other girls."

If you liked this check out 👉 How to Write a MMC Who's Not Just "The Male Version of Your FMC"

[what-even-is-thiss]

Reading weird poetry and short stories and unapologetically strange novels really does teach you that a lot of stuff people teach you about writing is just not true. Almost anything someone tells you must happen when you’re writing has an exception and writing advice has trends and fads just like anything else.

I was struggling to find where I fit as a writer until I found writers like Daniel Olivias who wrote short stories in ways I’d never seen before. I owe a lot of my current inspiration in my writing to Latin American magical realism writers. Finding magical realism and surrealism really opened doors in my brain that had been shut before.

You can get weird with it. You can get weird in content, weird in form, weird in structure. You don’t need a plot. You can tell a story backwards, you can just sit in an idea, you can explain, overexplain, skip explanation, get political, start ideas, end ideas. No ifs ands or buts you can just throw traditional story structure out the window.

I know what kind of writer I am now. A weird one. You don’t have to be held to standards of predictability, genre fiction, markets, tropes. You can just do whatever. Truly. Honestly. Completely. For ten words or a hundred thousand.

[mcflymemes]

PROMPTS FOR THE FORCED PROXIMITY TROPE *  assorted dialogue for the moments and circumstances that force two characters to spend time together, adjust as necessary

who said i agreed to any of this?

i said i would help you. i didn't say i would be nice to you while i'm helping you.

you scratch my back and i'll scratch yours.

oh no. don't tell me it's locked.

i was hired to protect you. that's my job.

i'm actually starting to tolerate you, believe it or not.

i don't want to be stuck here with you.

i'll work with anyone but you.

i'm not letting you sleep on the floor.

they're forcing me to work with you and i don't like it.

how long do you think we'll be stuck here?

is that the only tent we have?

i think we're snowed in here. we'd better find a way to stay warm.

it's going to take a few days for them to reach us.

you sleep in that room, and i'll take this one.

you can't get rid of me that easily.

i'm just going to come right out and say it - i hate being here just as much as you do, but we have to make this work.

don't get any ideas.

i'm going to see if they'll switch my room.

until you came along, i had this under control.

if we're going to survive this, we'd better work together.

why did they sit me next to you?

i'd like to be as far away from you as possible.

out of all the people in the world, i had to get stuck with you.

guess you're just gonna have to get over it.

i thought you were worse than this.

i'm not going anywhere, and neither are you.

you're not exactly my favorite person to be around.

well, get used to it. i'm not leaving.

i told them i don't need a bodyguard.

i never wanted to spend this much time with you.

all this time spent together has really opened my eyes.

you're not as bad as i thought you were.

we might as well try to get along.

i guess i should learn a little bit about you.

i think that means we're the only ones left.

there's no way i'm sharing a room with you.

you again? i've seen enough of you already.

i thought [name] was coming. why are you here?

they're counting on us to save them.

since we'll be here for a while... might as well make the best out of it.

i think we can set aside our differences for two minutes and work this out.

honestly, i think i was wrong about you at first.

there's absolutely no way i'm working with you.

fine, but you're sleeping on the floor. i'll take the bed.

as your bodyguard, i'm supposed to stay with you at all times.

i think we're snowed in for a while.

you could always sleep on this side of the bed.

we have to at least pretend we like each other.

the whole point in having a bodyguard is for me to keep you safe.

i don't like asking for your help, but here i am, asking.

you and i are the only ones who can deal with this.

you don't have a say in the matter.

looks like we're stuck here.

just sleep in the bed with me. i'll even make a pillow wall between us.

i'm not sharing a tent with you.

i need you to stay out of my way.

could you at least "guard" me from over there? why do you have to stand so close?

[awriterfaraway]

Love this. Heavy on the info dumps though it's the biggest turn off in a book.