thy, thee, thou, thine

19. Canadian university student.

“After nourishment, shelter and companionship, stories are the thing we need most in the world.”

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Are we bad people for laughing at the mishaps of kids?


The life of Gordon Ramsay isn’t an easy one


Steve called in a few favors


do you want to hear a joke

the north american education system



Odd Romeo and Juliet Tumblr Posts

My English class was supposed to read Romeo and Juliet this year, but we ran out of time, so we didn’t (yay education) I think I now know everything I need to know about it.

Played 2,323,753 times





Dammit, guys, this is why people think we’re insane.

Hands down one of the greatest posts I have ever reblogged on here 

It’s just so inexplicably satisfying…




set of nostalgia drawings by gabriel picolo. i don’t think i have enough space on my tumblr for all his works that i’d like to post.

these are incredible


so my dad texted me this and said “i think i just beat 2048” jfc


This is an excellent writing advice from Chuck Palahniuk. This was first seen on tumblr. Unfortunately, when I clicked on the link, it no longer existed.

But, I still think it’s worth sharing.

writingadvice: by Chuck Palahniuk

In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.

From this point forward—at least for the next half year—you may not
use “thought” verbs. These include: Thinks, Knows, Understands,
Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred
others you love to use.

The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those later.

Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”

Instead, you’ll have to Un-pack that to something like: “The
mornings after Kenny had stayed out, beyond the last bus, until he’d
had to bum a ride or pay for a cab and got home to find Monica faking
sleep, faking because she never slept that quiet, those mornings, she’d
only put her own cup of coffee in the microwave. Never his.”

Instead of characters knowing anything, you must now present
the details that allow the reader to know them. Instead of a character
wanting something, you must now describe the thing so that the reader
wants it.

Instead of saying: “Adam knew Gwen liked him.” You’ll have
to say: “Between classes, Gwen had always leaned on his locker when he’d
go to open it. She’s roll her eyes and shove off with one foot,
leaving a black-heel mark on the painted metal, but she also left the
smell of her perfume. The combination lock would still be warm from her
butt. And the next break, Gwen would be leaned there, again.”

In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.

writers use these “thought” verbs at the beginning of a paragraph (In
this form, you can call them “Thesis Statements” and I’ll rail against
those, later). In a way, they state the intention of the paragraph. And
what follows, illustrates them.

For example:
“Brenda knew she’d never make the deadline. Traffic
was backed up from the bridge, past the first eight or nine exits. Her
cell phone battery was dead. At home, the dogs would need to go out, or
there would be a mess to clean up. Plus, she’d promised to water the
plants for her neighbor…”

Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.

If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.

Thinking is abstract. Knowing and believing are intangible. Your
story will always be stronger if you just show the physical actions
and details of your characters and allow your reader to do the thinking
and knowing. And loving and hating.

Don’t tell your reader: “Lisa hated Tom.”

Instead, make your case like a lawyer in court, detail by detail.

Present each piece of evidence. For example:
“During roll call,
in the breath after the teacher said Tom’s name, in that moment before
he could answer, right then, Lisa would whisper-shout ‘Butt Wipe,’ just
as Tom was saying, ‘Here’.”

One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing,
you may be alone. Reading, your audience may be alone. But your
character should spend very, very little time alone. Because a solitary
character starts thinking or worrying or wondering.

For example: Waiting for the bus, Mark started to worry about how long the trip would take…”

A better break-down might be: “The schedule said the bus would come
by at noon, but Mark’s watch said it was already 11:57. You could see
all the way down the road, as far as the Mall, and not see a bus. No
doubt, the driver was parked at the turn-around, the far end of the
line, taking a nap. The driver was kicked back, asleep, and Mark was
going to be late. Or worse, the driver was drinking, and he’d pull up
drunk and charge Mark seventy-five cents for death in a fiery traffic

A character alone must lapse into fantasy or memory, but even then
you can’t use “thought” verbs or any of their abstract relatives.

Oh, and you can just forget about using the verbs forget and remember.

No more transitions such as: “Wanda remembered how Nelson used to brush her hair.”

Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”

Again, Un-pack. Don’t take short-cuts.

Better yet, get your character with another character, fast.
Get them together and get the action started. Let their actions and
words show their thoughts. You—stay out of their heads.

And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”

For example:
“Ann’s eyes are blue.”

“Ann has blue eyes.”


“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”

Instead of bland “is” and “has” statements, try burying your details
of what a character has or is, in actions or gestures. At its most
basic, this is showing your story instead of telling it.

And forever after, once you’ve learned to Un-pack your characters,
you’ll hate the lazy writer who settles for: “Jim sat beside the
telephone, wondering why Amanda didn’t call.”

Please. For now, hate me all you want, but don’t use thought verbs. After Christmas, go crazy, but I’d bet money you won’t.


For this month’s homework, pick through your writing and circle every “thought” verb. Then, find some way to eliminate it. Kill it by Un-packing it.

Then, pick through some published fiction and do the same thing. Be ruthless.

“Marty imagined fish, jumping in the moonlight…”

“Nancy recalled the way the wine tasted…”

“Larry knew he was a dead man…”

Find them. After that, find a way to re-write them. Make them stronger.


- Thanks Hiraku! (via wingedbeastie)

I was looking for a vibrator in the app store and I came across this gem! It’s just a vibrator on your phone but it allows you to connect with other people and they can control the vibrator for you and you can connect with either people you know or complete strangers. The only problem is that not many people know about this app so there aren’t many strangers you can connect with if any at all. But you can use this app with your long distance lover anyway ;) I just wanted to let everyone know about it!”

Anime Openings 15/???: No.6 OP 1




As a college student, currently really hungry with nothing to eat, I understand how hard it can be to get food. Sometimes you really just don’t have the money to eat and when you do, you waste it all on fast food instead of stocking up on cheap things because you’re so tired of Ramen Noodes and canned food you could barf. So, I’ve composed a list of recipes and resources that will fit a college kid’s budget and appetite. Don’t go hungry! <3

Ramen Noodle Recipes:

Mug Meals:

Microwave Recipes:

Recipe Generators

Other Resources

Reblogging because lord knows college kids aren’t the only ones that are broke.

Reblogging because “broke” tips also convey extremely well to Survival tips.

Learn to make something outta nothing.



Levi… why?

I peed a little bit.

Visions by Kelley Armstrong
My rating: 5 of 5 stars

Who’s the lucky duck that got a early copy and binge read for four hours because she doesn’t know how to pace herself?

And who’s extremely happy about the result?

No, but seriously, this sequel is everything I could have wanted. Gabriel and Olivia are friends. They are actual friends that eat together and hang out after work and spend time in each other’s company for personal enjoyment, despite Gabriel being a emotionally deficient teapot.

Kind of like this dude:

He’s getting better though. But more on that later.

Good things! Excellent things!:

==> And the plot thickens. In this book, we learn much more about the origins and goals of Cainsville. Why are they involved in so many weird things? If you’ve read Cainsville 0.5, you can probably make a semi-basic reasonable conclusion, but it’s not the whole story and there’s a vast amount of information in addition to that. There’s also a new aspect, the Hounds or the Wild Hunt, which is related to the Satan’s Saints (Ricky Gallagher’s bikers). We’re not really sure how they fit into Olivia’s and Gabriel’s lives (He’s representing them, remember?), or if there are ulterior motives, but I suspect they will play a large part in the future. They’re not enemies exactly, but the Hunt want Olivia’s abilities for themselves and are courting her favour. It’s just mentioned in passing in a teensy tiny bit, but it reminds me of Richelle Mead’s Gameboard of the Gods. We have a new player on the gameboard, who’s name is Tristan, but he’s kind of a wild card and no one is sure what his endgame is. As far as I’m concerned, he’s just there to mess shit up.

The specific answer isn’t as important as the general one, which is that Patrick isn’t human. That something is going on in Cainsville, and we’re caught up in it.

It’s getting so interesting. Gabriel and Olivia have a new case they’ve been dragged into, and Armstrong does a fantastic job of moving things along at an excellent pace. The reader is never bored, and she answers questions that we’ve had since the first book, specifically, WTF is going on with Cainsville (Seriously, they’ve had way too many dead bodies connected to them), while adding new aspects to her story. It’s good, so entertaining and engaging and I was absolutely ecstatic at the end of this.

==> This is a book about faeries, if it has to be linked to the supernatural; really, at its core, it’s a mystery. There are more fantasy components in this sequel, but it’s still at low levels. Once again, they do an excellent job of aiding and adding another dimension. That will probably change in the third novel, but right now it is integrated nicely as it is so we’ll see where it goes from here. Our protagonists just sort of … crash into the idea of the supernatural because of Tristan and it creates this other mess for them to deal with. It’s like a train wreck that is currently in process.

A train wreck I’m anticipating. Impatiently.

==> CHARACTERS! My favourite, favourite part. Armstrong has here signature banter between our main characters, which is always a delight.

“Please don’t tell me you think vampirism is the explanation here.”
I shuddered. “God, I hope not.”
“We do see Patrick during the day,” Gabriel said.
“Bram Stoker’s Dracula went out in the daytime.”
“You aren’t helping.”
“Later, I’ll set up a Twitter feed for the firm. Don’t worry—I’ll run it, too. Advertising tweets like: Gabriel Walsh, Attorney-at-Law. Finding the Saint in Satan’s Saints. Or helpful tips like: Note to clients, quicklime is a preservative not a corrosive.”
He gave me a look.
“We’ll work on it,” I said

What’s developed most in this book is their dynamic and Gabriel’s attitude towards Olivia.

Olivia, like in Omens, is stubborn, gets into trouble and doesn’t take any bullshit. She’s also very humorous and much more confident in her intuition and her relationship with Gabriel. She knows that she can depend on him for help, and I think she shows her appreciation of that in her protectiveness and being on his side. It’s a interesting push and pull they have, because while Olivia already had developed her loyalty and her trust, Gabriel has some catching up to do in that department.

Things went awkwardly after that. Detective What’s-his-name—yes, I should really pay more attention—decided Gabriel was launching some scheme. By claiming a long-dead addict was his mother? That wasn’t just ridiculous—it was unbelievably offensive. I gave the detective hell. By the end of it, I think he had decided I wasn’t nearly as nice as I’d seemed. In fact, given the choice, he’d probably rather have dealt with Gabriel, who took the accusation in stride, calming me down when I lit into the detective
“And he is a person!” I roared, unable to hold back any longer. “He is not a sword. Not a tool. I don’t care what the hell you had in mind for him. You screwed him over, and now you tell me you were tempering—”

My favourite part about all of this, of ANY of this is that she’s perfectly aware of how easily Gabriel can defend himself. But someone should defend him once in a while, and she doubts that he’ll let anyone else. Olivia is almost foolishly loyal, but it wins people to her side. She isn’t dull or insipid. James, her ex, has realized this. So has Ricky and Gabriel. She has the curiosity to match her spunk, and a ridiculous magnet for danger. I’m slightly surprised she made it this far without a serious injury. Hell, I don’t even think she’s broken any bones. Yet. Olivia, in addition, takes to the supernatural like a fish to the water. She like “Patrick may be immortal? oh cool, let’s find some evidence. Changelings are real? Great, let’s run some DNA tests from the hair we’ve stolen.” The girl’s adaptable.
All of this makes her a compelling character to read about, to follow and immerse yourself in. Because what person doesn’t want to read about this amazing lead as a protagonist?

Let’s move on to Gabriel now. If you have read this book, which you probably haven’t at this point, you’ll know that Gabriel has changed.
He’s still an arrogant ass…

“Killing a business rival?” he said. “It suggests I need to eliminate an opponent to defeat him.

but, he’s become better at showing his feelings, admitting his mistakes and confiding to Rose and Olivia. And he cares. He cares alot more than he did before, and it shows in his actions. Other people are starting to notice that his gestures and protective instincts now include Olivia. They’ve become partners in the best sense of the word. To me, that’s even better than lovers.

“They were there,” I said. “I swear—
“Am I questioning that?”
“No, but—”
“Then stop panicking.”
“I’m not—”
“You are. You found a body, and you called me, and now it’s gone, and you’re panicking because you can’t prove it was there. I don’t doubt you saw something. We’ll figure out what it was.”

He trusts her instincts and doesn’t doubt her, even when she backpedals. And the looking out for each other’s well being is reciprocal.

“So it’s a simple client–lawyer relationship?” She waved at the door with its small glass pane, blacked out by the wall of Gabriel’s back. “He’s right there. He’s been there since he left, and he only left because you wanted him to go. He jumped to do your bidding. Now he’s hovering there, waiting for any sign that you need him.

He could rectify that now. Send a text. I’m sorry. I behaved badly. Please come back.
He would not say that last part, of course. He would never say that. But it was what he wanted—for Olivia to read his apology and understand how hard it was to make it, and even if she was lying beside Ricky, for her to leave his bed and come back. To give him another chance

My favourite part about their relationship is that it is slow burn. If they do end up together, it’s not going to be anytime soon. Right now, Gabriel resents anyone taking away Olivia’s time. He’s like “that’s my friend, she was my friend first.” He doesn’t have many - hell, anyone really whom he can be around without putting on a mask. Slowly, periodically, he’s thawing, and while he’s very mature in some ways, he’s significantly less so emotionally wise. But he’s getting there.

He nodded and straightened, tugging on his shirt and adjusting it, as if it wasn’t blood-spattered and filthy. Then he looked down at me. “I am a little queasy. And my head hurts. Also, there’s a slight pain in my shoulder, but it didn’t seem worth mentioning. None of that, however, will impede me.”
I smiled. “Nothing ever does. Come on. Let’s talk to the police and get out of here.”

Yeah, nothing ever impedes these two.

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