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Using flashbacks to your benefit.

Suspenseful flashbacks, anyone? 

As a general rule, I dislike flashbacks, because many of them stall the plot instead of moving it forward and are just plain boring. But that doesn’t have to be the case. 

Tips to help you create more interesting flashbacks…

1. Leave the reader intrigued. Flashbacks work in your favor when you use them to create suspense. Instead of flat out explaining something happening in the present, make the present more interesting by giving hints about things that are currently effecting the main story, while leaving some things to be revealed later. 

2. Don’t just backtrack to backtrack. Anything worthy of a flashback should develop into something bigger and more interesting during the course of the main story. If you can remove the flashback from the story, and the story itself still makes sense and is just as suspenseful, your flashback shouldn’t be in the story to begin with.

3. Emotions are your best friend. If the flashback doesn’t create an emotional response in the reader, then you’re just using a lot of extra words to describe something that could have been better revealed through an intimate conversation between two emotionally vulnerable characters. 

4. Keep it short. The reader should be intrigued by the flashbacks, but they should still be thirsty to return to the present time. Don’t linger for so long that they become detached from what’s going on in the actual story.

5. Think outside the box. Characters experiencing their past through dreams or memories is a typical way to introduce flashbacks, but there are many other, more versatile methods. Break up the flashback into single pages or a few lines at the begin of chapters or book parts? Tell the memory from a side character’s POV? Compare it with the memories of an ancient historical figure who experienced the same thing? Consider the effect a variety of unique methods might have on the reader’s interpretation of the flashback before committing to the more common ways.

Please keep in mind that this is my singular opinion on what makes me personally enjoy a flashback. My opinion is not the opinion of every reader or writer in the known universe; for that matter it might only be the minority opinion. 

The most important rule is to flashback the way you enjoy flashbacking, if you feel the need to flashback in the first place. Don’t let my opinion persuade you otherwise.

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Describing Character Appearances

Anonymous asked: “Do you have any tips on how to describe characters effectively? I always find myself dumping a paragraph on their appearance the moment they appear which often really halts the action.”

Even in great manuscripts, character descriptions can come off pretty clunky. Some writers will get pretty creative to minimize that aspect of it, but it’s usually there to some degree no matter what. Though character descriptions might bog down the writing to some extent, I know they’re necessary. As a reader, I would feel that something is missing if a character wasn’t adequately described. With that said, descriptions do not have to be long, just long enough to help the reader picture him or her. 

There are a few ways strategies to describing characters that can help avoid that long description dump at the first sight of a new character:

Keep reading

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Plotting with Flawed Characters

Anonymous asked: “Do you have any tips for writing good and believable flaws for characters and making them effect the plot?” 

All good characters are flawed in some way. Even if they are good and kind people, no one is perfect and this rule is especially true for fictional characters. Flaws do not always have to be big and in your face. They can be smaller and relatable. 

Some people will say that the character’s flaws should work directly against him in his pursuit of his goal, but I don’t think that is necessarily true. It should however effect how he progresses to his goals. When trying to connect character flaws and plots, you can either know the plot and figure out how the character will get tripped up along the way or come up with the character and try to see how that could hinder him in working towards his goals. 

Keep reading

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Why We Need Stories about Dark Things

One of the things I get tired of from time to time is the perspective that if something shows evil behavior then that means the story, song, game, whatever, is inherently bad. But there is a difference between illustrating evil behavior and promoting it.

Not all appearances of bad behavior invite bad behavior.

While one purpose of storytelling is to entertain, another purpose is to teach or educate–a purpose that in today’s world, most people seem to have forgotten.

A long time ago, there used to be all sorts of horrific stories told. Open Grimms’ fairy tales, and you’ll see that Cinderella really isn’t that Disney-friendly. But often some of those older stories were meant to teach a lesson or scare children into behaving (that latter point is one I personally don’t condone). Horrific things happen in the Bible (and the Book of Mormon). We can often learn from these accounts, but some of them are simply a record of what happened (if you believe in that), whether you like the content or not. It is what it is. Conspiring incest, rape, slaughter, and even cannibalism can be found in scripture stories. In today’s world, most people have been conditioned to believe that stories are only meant to entertain. Or entertain and uplift.

Those two things are valid. But what I get tired of, though, is the perspective that all stories should be full of puppies and rainbows (yeah, that’s an exaggeration, but you know what I mean), and that’s what we should be writing, and if a story is dark, it’s “bad” or lesser or … something.

The World Needs Stories about Dark Things

It’s important we write about what I call “the big and heavies”–rape, addiction, suicide, massacre, societal brainwashing, etc. And when I say “we,” I don’t mean specifically that you or I HAVE to; I mean “we” as in us, writers and creatives everywhere. The world needs creatives who delve into the big and heavies, and here’s why:

1. Stories provide a safe means to explore and discuss dark things

The big and heavies are vital to discuss for a healthy society. We shouldn’t be turning a blind eye to dark deeds. We should be turning the right eye to them. Literature offers a safe way to explore and discuss these issues. It offers some distance (because it’s usually a work of fiction) while simultaneously having the ability to offer closeness–empathy.

Also, fiction provides a type of lens to view these behaviors through. Speculative fiction might have a more exaggerated or symbolic lens, such as the fashion industry of Panem in The Hunger Games, or the discussion of pure bloods in Harry Potter. A lens lets us view the issues in a way that may emphasize certain points or give us a new perspective on them, and again, the distance can provide a bit of a “safe” buffer for readers. We aren’t talking about racism; we’re talking about magical blood–and we can have a whole discussion on it that correlates with issues seen in racism, and no one needs to feel uncomfortable because this is about wizarding blood. Even realistic fiction provides a perspective, though less exaggerated, to see these issues through.

2. Powerful, emotional ramification drives home a point or idea or lesson.

Unlike reading text books or the news, fiction writing often works off making the audience feel something. It appeals to emotional experience, even more than intellectual experience. It is one of the only mediums where we can put on the skin and thoughts of another person.

In parts of society, we try hard to divorce intellect and emotion, but powerful emotional experiences are often what cement ideas and lessons into our minds. Back in the day, fathers used to take their children out to their property line and beat them so that the child would never forget where the property line was. We’ve seen similar conditioning with training wild animals. Both are crude examples, of course, but the emotional experience drove home the lesson. While negative emotions are powerful, this same thing can happen with strong positive emotions. We remember powerful feelings of happiness and of love, and if there are any lessons or insights associated with those, we recall those too.

In fiction, emotional experiences can drive home powerful lessons. And they stick with the audience.

Strong emotional experiences in fiction amplify the conceptual ramifications of dark deeds, and cements into the reader the weight of such behavior, in a way that pure intellect cannot. Once we “experience” an issue, we care more about it. Fiction is a vehicle that allows us to develop and fine-tune our empathetic skills, so we can better understand and relate to those who’ve dealt with such issues.

3. Explore, cognitively, the causes, consequences, and facets of the big and heavies

In the real world, we live our own lives in our own perspectives, and that’s it. In literature, you can include several perspectives of those involved with an issue. You can often see the issue’s causes, consequences, and facets to a degree you may not in your own life. You can see far-reaching effects in a matter of hundreds of pages, rather than decades or hundreds of years. This opens up new ideas, new perspectives on the topic, which leads to more discussion.

4. To provide hope and uplift, in spite of darkness. To overcome.

I sometimes see this weird idea that an uplifting story needs to not cross some invisible line too far into the dark. In some ways, that couldn’t be further from the truth. As a Harry Potter fan, I’ve had friends come up to me and talk about how they’re disappointed that the stories got darker and darker. Maybe I’m weird (okay, there’s no “maybe” about it), but I like that. I like stories getting dark. I like when they get darker and darker. I like my evil, evil. I want the Voldemort who tries to possess Harry to get Dumbledore to kill him. I want the Voldemort who tortured animals as a small child and who murdered others to split his soul into seven pieces. The world is often an evil place. And how much more powerful is it to overcome the bowels of the most wicked, than it is to overcome a guy who shoplifted? I like my evil, evil. Not because I want to be part of the dark, but because I like seeing people overcome it.

A story that includes dark materials can be just as uplifting, if not more uplifting (because of the contrast) than a story that doesn’t. The idea that a story can’t be dark and inspiring is just unfounded.

Every Christmas season, I become a fan of The Trans-Siberian Orchestra all over again. If you’ve never heard of them, you may still recognize some of their most iconic Christmas songs, some of which have gone viral on synchronized Christmas light videos.

What many people might not realize is that each of their Christmas albums actual tells, and comes with, a written story. If you see the Trans-Siberian Orchestra live, they will read the story to you bits at a time, interspersed with music. But not all their stories are about happy sleigh rides, warm fires, Christmas hams, and decorated trees. There are parents who abandoned their disabled children, babies born addicted to crack, love that has been lost. But the stories and albums are uplifting, not because the creators avoided dark subject matter, but because they illustrated the power of overcoming–overcoming difficult times and personal mistakes. It’s hard to make it through one of their performances with a dry eye through the whole thing.

5. To render reality–others’ reality or your own

But some stories aren’t necessarily meant to be about overcoming the dark or inspiring an audience. Some stories are just about reality. Human nature. The natural man. Experiences that people actually go through. Some stories are simply meant to render, often for reasons 1-3. It’s a statement. It’s meant to create social awareness, empathy. Maybe it’s meant to start a discussion. Those stories need to exist too.

Closing Thoughts

Keep in mind that many audiences only see stories strictly as mediums for entertainment and, on a subconscious level, a reinforcement of a positive, maybe even sugary, feelings and ideas. Those audiences may (on a subconscious level) refuse anything that is otherwise, and consider any mention of the dark and heavies as something that shouldn’t be there. That is their right.

And in some cases, they are correct. Some stories do not need and should not have dark content. It doesn’t serve the purpose of the story, it messes up the tone of the story, and it can ruin what was already working. You wouldn’t, for example, put in a serious plot line in The Office about Pam being legitimately raped. It doesn’t fit.

And with all that said, you shouldn’t feel forced to write content you feel very uncomfortable writing. Your work should reflect the writerly you.

Next week, I’ll talk about how to write about dark things without promoting them.

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New Jily Blackinnon Fralice fic

https://m.fanfiction.net/s/12501483/1/Aspects-of-Life

#Jily #jily fanfiction #jily headcanon #jily fic #james potter #lily evans #lily evans potter #potterhead #blackinnon #sirius black #marlene mckinnon #frank longbottom #alice longbottom #fralice #marauders era #marauders #remus lupin #dorcas meadowes #harry potter #fanfic #fanfiction

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Jily Headcanon

(Let’s imagine for a second that dear is only a Muggle term of endearment)

Lily and James have been dating for a bit, and he thinks she doesn’t know he’s an Animagus.

They’re on their way to Hogsmeade, and James is lagging behind with the Marauders.

“Come on dear, let’s go.” Lily says patiently, and the boys freeze up.

James attempts a bad poker face. “Wh-what do you mean, ‘deer’, Lily?” He chuckles nervously. “I’m human.”

Lily raises her eyebrows in confusion. “Um, I know you’re human, James. What made you think otherwise?”

“You just called me a ‘deer’.” He points out, and Lily rolls her eyes.

“'Dear’ is a Muggle term of endearment, James,” She explains. “Can we go along, now? I want to get there before it gets too crowded.”

She walks off ahead of the four, and James sags in relief.

“I know you’re an Animagus, dear, but that’s irrelevant.”

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i kind of live for over protective james.

It starts with the little thingslike “don’t forget your sweater, Pete”, “you can spend the summer at mine,Sirius”, “I’ll never tell anyone, Moony”

But as his loyalty grows so toodoes his over-protectiveness.

Soon it turns to tripping jinxeson those who laugh at Remus’ scars, swift fists in the faces of Slytherins whocomment on Sirius’ home life, and harsh insults at those who poke fun at Peter.

When he starts dating Lily thingsget a little complicated. He knowsthat she can take care of herself and he knowsthat she will hex him sideways if he tries to fight her battles for her – buthe is also James- motherhen -Potter and he can’t help himself.

He always brings an extra scarfbecause she always gets cold (and because he knows she won’t accept his).

He pre-checks the map so he andLily can avoid particularly nasty Slytherins (read: Snape), because if he can’tfight her battles for her he can at least stop them from ever happening.

He always brings her food fromthe kitchens during exam time because he knows she’ll forget to eat once she’sin full study mode.

He thinks Lily is oblivious (she’snot) and that she’d be mad if she found out (she’s not)

(in fact, she finds it sweet, andwould definitely let him know if it was controlling/too much)

Becoming Head Boy made everythingworse, and now he feels responsible for all these tiny first years (and he canoften be found helping/lending an ear/defending first years regardless of theirhouse – but he is particularly fond of the Gryffindors).

Anyway, James potter was a giantsap and definitely the mom-friend.

send me a headcanon and I’ll add to it or counter it!

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MY HEART MY HEART MY HEART

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Some quick headcanons about Lily for International Women’s Day •She was part punk and part hippie (black leather jacket covered in pins tossed over a short yellow sundress was a frequently seen outfit) •Therefore, the first time James’ parents saw her (eagerly pointed out to them by their son) she was a young, innocent girl in a pretty dress •And the second time they saw her (eagerly pointed out to them by their son’s best friend) she was a slightly scary, wild haired girl wearing a jacket with colorful pins •They didn’t realize she was the same girl until fourth year when both boys properly introduced her to them •(somehow, they hadn’t realized the Lily Sirius talked about that he had bonded with over stupid families and insomnia was the same Lily James talked about that he had bonded with over chocolate preferences and pillow forts) •Also, she was the one that forced Sirius to get a helmet for his motorcycle, because, “if you’re going to ride that death trap, you may as well be safe about it” •(she bought herself one on the same trip) •(she also helped him with the charms to make his bike fly) •She couldn’t hold liquor to save her life •But she always insisted that she could •So she always ended up being the one dancing on the tabletops at Gryffindor parties and passing out on top of James so he had to let her stay in his bed •(not that he minded)

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Okay but imagine and James and Lily didn’t die, and the Potter’s live their life fairly happily, and Harry still defeats Voldemort in the Second Wizarding War some way or another. But James Potter is sick of fighting wars that could’ve been stopped long before innocent people had to die, and despite everyone swearing that immature and always-joking James Potter would never become a Ministry worker, he takes up a career in politics. 

James becomes an unstoppable force of nature in the Wizengamot and the Ministry, he champions for muggleborn and werewolf rights, he implements a fair functional trial system, and helps to eradicate ancient laws and regulations that discriminate.

He becomes known for being something other than the father of the Boy-Who-Lived and First and Second Wizarding War veteran. His policies are renowned and he strides (no longer struts) down the halls of the Ministry, robes dramatically sweping behind him, greying temples and Dumbledore-style twinkling eyes.

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Marlene: Why Lily, why?

Lily: Why am I sleeping with James?

Marlene: Why? Is it a pity thing?

Lily: *stares*

Marlene: Is he holding you against your will?

Lily: *stares*

Marlene: If he's holding you against your will, blink twice.

Lily: *doesn't blink*

Marlene: *starts blowing into her eyes* Blink twice.

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remus headcanon

i have a headcanon

the marauders notice how Remus gets really moody when he reaches the 2 day mark before a full moon

each month varies in emotion

some months, he’ll be really sad

he’ll push his food around his plate, drag his feet when he walks, go to bed early, not even bother to get a cup of tea, lay his head on the table during class, not chime in on conversations, and have the boys constantly worry about him

other months, he’s completely pissed off

he’ll sigh in exasperation when he drops something, snap when someone asks him more than one question, rub his eyes and groan when he’s asked to do something, and sit on a common room couch with a mixture of annoyance and disgust on his face as he tries not to roll his eyes at everyone, making the other boys nervous whenever they’re around him, like he’s a bomb ready to explode

and sometimes, just sometimes, he’ll have a mixture of both

he’ll listen to his sad records but let out an aggravated groan when they skip, he’ll stare off in class and when he misses something the teacher said, he’ll hastily flip through his book and try to catch up, whilst having a pissy-pouty look on his face

the boys don’t even try to test him during this mood

when he’s this way, he has a no tolerance for any bullshit

and so, one day in 6th year, a day before a full moon, he was in that particular mood

they were all in transfiguration

James was sitting with Lily today, she let him; she’s starting to like James

Sirius is next to Peter, chatting about nonsense, and Remus is at the next table with his head on his crossed-arms

he likes being alone during classes before a full moon

but of course, only the marauders new that

so a snotty Slytherin sat next to Remus, seeing that there was no other seat available

neither one was too happy about this arrangement

toward the end of the class, Mcgonagall was talking about how transfiguring muggle-owned things isn’t tolerated because it’s too risky in exposing magic and confusing and scaring the muggle half to death

and of course, the Slytherin sniggers

“What is it?” Mcgonagall asked the slytherin

“I just think it’s funny,” the Slytherin starts,” that muggles can’t really seem to grasp anything.”

James can feel Lily tense next to him

James purses his lips and knits his eyebrows together, ‘here we go again, guess i’m going to have to get my knuckles bloody after class’

“Come again?” Mcgonagall asked with a puzzled look

“I just mean,” the Slytherin continues,” haven’t they noticed something’s up by now? Haven’t they noticed magic before? I mean the ministry can’t erase everyone’s memory… I guess their just slow… uneducated and slow.”

at that, Remus slowly lifted his head off the desk and turned to look at the kid, wearing the most ‘i can’t believe someone actually thought that in their head and then decided to said it out loud’ expression on his face

then the Slytherin kid says, in a voice just low enough for Mcgonagall not to hear, but everyone in a ten foot radius to, “Maybe that’s why mudbloods are so slow and horrid at magic, take after their stupid parents. Aren’t i right?”

and just as Sirius and James are about to pound this kid into the ground, Remus takes a handful of the kids hair from the back of his head into his fist, and slams the kids face on the table so hard and fast, James almost missed it

“REMUS!,” Lily and Mcgonagall shout at the same time, both standing up, Lily knocking her chair over

the kids nose starts gushing blood, undoubtedly broken, as he wails and fumbles to get away from Remus

and Remus just has this half bored, half disgusted look on his face as he watches his classmate flail about

Peter has the same shocked expression as James, and then James and Sirius share a glance, and before they know it, they’re on the floor laughing their arses off

since then, that was always the first story that got brought up whenever someone mentioned Remus for the next two years, and the story that always made Remus grin wide whenever he was in one of his ‘moods.’

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Jily Breakdown

Lily having a breakdown because there’s a transfiguration exam the next day and she can’t fucking figure out how to do anything and if you fails and goes back home petunia will never leave her alone.

Lily throwing her textbook against the wall of her heads door and storming out into the heads bathroom, locking the door, and curling up in the corner. 

James, who was drooling on the floor of his dorm after falling asleep studying, was woken up by a large thump. 

Him sitting up slowly as he heard the door to the bathroom slam shut and waiting.

Thinking that he is just imagining the noise and laying back down until he hears soft sobs coming from the bathroom. 

Jumping up and moving towards the door because it’s Lily and the fact that Lily is sobbing breaks his heart.

Finding the door locked and knocking on it, hoping to get Lily’s attention. 

“Lils… Lils what’ wrong. You need to let me in. Please, let me in.”

“Fuck off Potter.”

James hand curling into a fist, not because she swore at him but he can hear the pain in her voice and he can’t protect the one person he cares about most. 

“Lily. I will kick this door down.”

“I don’t need your pity Potter.” 

James letting out a low sigh before slamming his shoulder into the door. The wood creaking with each blow until it blows open to reveal the heads bathroom. 

Lily sitting in the corner, cheeks stained with tears, eyes wide as saucers. She’s wearing an old ratty sweater and pajama shorts. She looks like a lost child and James’s heart breaks. 

“James. I’m pa-pa-pathetic. Go back to bed. Please.” 

James taking slow steps towards Lily as if he was approaching a wounded animal. 

“I’m not going to leave the woman I have loved for 6 years sobbing on the bathroom floor.” 

James kneeling in front of Lily and whipping her tears with a calloused thumb. 

“What’s wrong Lils? Tell me what’s wrong?”

Lily doesn’t what to tell James what’s wrong. But suddenly the words are spilling out of her mouth and all her fears leave her body, filling the bathroom. How she’s going to fail her exam. How everyone at home thinks she is a freak and so she has nowhere to go when she fails out of Hogwarts. 

James laughing softly when she has finished. 

“You won’t fail out of Hogwarts.”

“Yes, I will-” 

“And even if you do…” James cut Lily off, “You can always come home with me.” 

Lily taking a shaky breath before looking James in the eyes. And she knows that everything is going to be okay. And James isn’t teasing her. And she isn’t scared anymore. And all of a sudden she’s grabbing James by the collar of his t-shirt and meeting his lips with hers. 

James being shell shocked and lifting his hands in the air because he doesn’t want to break her but he can’t think straight. 

But she’s kissing her with such passion, and her hands are wrapped in his hair, so he brings his hands to her hips. 

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But what if James and Lily lived?

Imagine if James and Lily lived…

And Harry is still friends with Ron, so of course he still goes to the Burrow all the time.

And Molly still loves him, and he’s still basically family.

But also:

The Potter family and the Weasley family having dinners together.

They usually take place at the Burrow b/c there’s more room.

The dining room is packed full of people, and some spill into the living room and the kitchen.

The Grangers and Remus and Sirius show up as well.

Everything is warm and cozy, and it smells so good.

The air is full of the scent of spices and butter, and you can hear laughter and sizzling from the kitchen as Lily and Molly prepare dinner.

(Even though Lily is awful at cooking).

James is in the living room marveling at the twins’ newest invention (and giving them tips when Lily isn’t looking).

Sirius is super impressed, and asks James why they never thought of what the twins’ have 

(”Merlin, James. Why didn’t we start a joke shop?” “Because you were too busy being punk and snogging werewolves.” “Touche.”).

Harry and Ron are laughing and playing wizard’s chess or something.

When Lily pops out of the kitchen to ask them to be a little quieter, Arthur asks her questions about muggle inventions.

(Recently, he’s been very invested in popcorn).

When dinner is finally ready, everyone crowds to the tables .

There’s barely any room, and people keep hitting each other with their arms, but no one cares b/c everyone is laughing and smiling.

Dinner is a mix of just about everything, in a mixture of mismatched bowls and plates.

(Some of it is burnt b/c Lily made it, but no one seems to care).

The dinner table is loud and full of conversation.

Percy is talking to Lily about a book that he’s recently read, and she’s suggesting others that he might enjoy.

Hermione adds a few of her personal favorites, and they get into a very deep discussion about their favorite books.

Sirius complains to Remus about the “book club at the table,” and Remus smacks him.

Molly is scolding the twins for trying to sneak pepper and other strange objects into the food.

James, Ginny, Harry, and Ron are having a very heated discussion about Quidditch.

“I can’t believe my son is a Seeker! And you, Ron! A Keeper? Merlin, Ginny, you’re the only sensible one here.”

Ginny laughing as he winks at her.

James challenging everyone to an after-dinner Quidditch match.

Lily smiling from across the table b/c her husband is such a dork and she loves him so much.

Everyone rushes through dessert b/c the impromptu Quidditch matches are the best things about these dinners.

Everyone working together to clean up as well. 

Lily and Remus are on washing duty and Fred and George dry. Ron and Ginny put the dishes away, and Harry and Hermione clear the table. James and Sirius serenade the group with a “cleaning song”, and Molly smiles as she makes the adults tea/coffee.

Then everyone rushes outside to play Quidditch.

Team One consists of James, Hermione, Sirius, Percy, and Ron.

Team Two consists of Lily, Harry, Ginny, Fred, and George.

Hermione and Percy are both awful, and Lily isn’t much better.

Regardless, it turns into a fierce competition between Lily and James for their team to win.

They both stop at nothing to win: often shouting, cheating, and trying to shove the other off their broom.

Sirius is cursing every few minutes and Lily is shouting vile insults back at him.

James and Ginny are constantly fighting for possession of the Quaffle, (James calls Harry a traitor when he cheers for Ginny).

Molly is cheering for all of her children and ignoring the teams and Arthur is shouting at Ginny to beat her brothers.

The Grangers cheer for Hermione even though they don’t understand what’s going on.

Remus makes fun of James and Sirius from the sidelines (and is nearly hit by the bludger Sirius sends in his direction).

Rules are forgotten about a third of the way through, and suddenly there are mini teams and cross-team alliances. 

Ron declares that he’s a spy and switches teams, and James tries to intercept everything that Lily does with a kiss.

The twins keep announcing that they’ve scored extra points (even though they’re both beaters).

The game ends when everyone is red-faced with laughter and smiles are plastered across their faces.

(Team one has a score of 87 and a half, whereas Team two has 76 points and a gold star)

James kisses his wife and quietly whispers, “we won.”

Lily kisses him back with a careful “in your dreams, Potter.”

Ron wraps his arm around Hermione b/c it’s actually gotten quite cold out.

Remus leans into Sirius, his hands wrapped around a mug of lukewarm tea.

Ginny and Harry breathlessly high-five, and then end up kissing a few seconds later.

Molly smiles and pecks her husband on the cheek.

Percy smiles softly, and the twins tell everyone to get a room.

Everyone laughs, their breaths clouding in the nighttime air.

The stars are shining, and the moon is bright (though not full), and everyone is happy.

And everything is as it should be.

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because some of y'all ugly snape/snily stans are really getting on my nerves, here are some gentle reminders about the overly pompous arse: james potter— boy extraordinaire

• james grows up in a happy family. his childhood is filled with first magic celebrations and awkward tumbles from quidditch practices and it’s an overall, nice kind of picturesque apple pie life

• so when james goes to hogwarts and boards the train it’s not— it’s not anything new. at least not yet.

• it’s not until he finds himself at odds in finding a seat that it really strikes him as a whole new world compared to something that always seemed given to him

• so robes and wand in hand, he swerves past bustling students (damn him and his athletic abilities) and peers into a nearly full compartment

• he knocks lightly (okay, loudly, alright? when has james ever done anything without a thundering finesse) and a boy with straw hair and sullen eyes slides the door open and offers a silent sweep of his hand to an empty space next to a boy with dark grey eyes and a contorted expression of a scowl and a grin. he’s a black: james has seen him in passing when the rare invitation for galas or balls somehow finds its way into the potter house; sirius was his name. sirius orion. james remembers laughing when he first heard about him.

• when their robes are changed and a mousy kid named peter starts talking with more excitement, sirius cracks open a smile and remus chews on a chocolate bar and james realizes that magic isn’t something you take, but something to be given.

• he meets lily

• and it’s like—

• it’s like the world tilts on a dangerous axis and starts spinning off course

• it’s like she’s the centre of everything, and the very thought of her sends him in orbit with brand new fervour

• lily’s the exact moment that james realizes that magic isn’t something to abuse, but something to cherish and hold, and break into parts until it fits into the heart of someone else

• but the thing is.

• the thing is is that she hates him

• so naturally, he hates snape

• and it’s childish and crude, and if anyone asks him in later years, he would say that snape deserved every bit of it

• but in truth, he would recall the quiet and warm voice of remus, snuggled in a fetal position on the gryffindor common room couch, mumbling in the wee hours of dawn

• ‘lily isn't— lily isn’t something you own, you know? she’s like the muse of every artist, but she isn’t some untouchable painting, prongs. she's— she’s human. nothing less, and nothing more. you shouldn’t immortalize her, that’s the same thing as snape’s twisted fantasy of his minuscule chance with her.’

• and james had blinked over the glaring light of his horrid glasses and paused into nothingness— too quiet, that remus had lifted his head to check if he was still breathing

• and then he had laughed and said, ‘do you have a crush on her or something? is she you’re mate? is that even a thing??’

• the ‘fuck off, prongs.’ wasn’t missed to james’ ears

• skip through time a little and he stops obsessing. he doesn’t steal obscene plants from the greenhouse to present to her, and he stops paying the ghosts to sing renditions of elvis songs in the middle of the great hall

• and it’s not until sixth year that lily starts to notice

• so the first date goes along smoothly, and the first hand hold is without any sweaty palms, and the first hug is comfortable enough

• but the first kiss is absolutely awful

• there’s fumbling and teeth against teeth and it’s all very trial and error

• and then lily tilts her head back; all soft eyes, and bright hair, and golden mind, and james can see the glow of fire around her in the setting sun

• 'it’s okay, james.’ she says. 'we’re okay.’ and she slowly leans in again, and meets her mouth against his and she tastes like home. warm, and pliant, and pure happiness.

• when they go into hiding years later, james still visibly sags with relief every time he hears the familiar coo of harry’s giggle, and the everlasting wonder of lily’s sighs of content

• and when voldemort leaves his body cold and empty, he remembers the taste of her lips against his.

• home and magic and everything good in between.

[scamandercat-blog]

lily initiating the first kiss because james was acting like a smol’ child™ and kept blushing every time their hands just brushed 

[scamandercat-blog]

jily headcanon #11

Lily: You know what your problem is? You're really hot so no one ever told you to shut your stupid mouth.

James:

James:

James: You think I'm hot?