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emma-watson-blog · 2 months

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Overview:

Born:

April 15, 1990 · Paris, France

Birth name:

Emma Charlotte Duerre Watson

Nickname:

Height:

5′ 5″ (1.65 m)

Mini Bio:

Emma Charlotte Duerre Watson was born in Paris, France, to British parents, Jacqueline Luesby and Chris Watson, both lawyers. She moved to Oxfordshire when she was five, where she attended the Dragon School. From the age of six, Emma knew that she wanted to be an actress and, for a number of years, she trained at the Oxford branch of Stagecoach Theatre Arts, a part-time theatre school where she studied singing, dancing and acting. By the age of ten, she had performed and taken the lead in various Stagecoach productions and school plays.

In 1999, casting began for Harry Potter and the Sorcerers Stone (2001), the film adaptation of British author J.K. Rowling's bestselling novel. Casting agents found Emma through her Oxford theatre teacher. After eight consistent auditions, producer David Heyman told Emma and fellow applicants, Daniel Radcliffe and Rupert Grint, that they had been cast for the roles of the three leads, Hermione Granger, Harry Potter and Ron Weasley. The release of Harry Potter and the Sorcerer's Stone (2001) was Emma's cinematic screen debut. The film broke records for opening-day sales and opening-weekend takings and was the highest-grossing film of 2001. Critics praised the film and the performances of the three leading young actors. The highly distributed British newspaper, 'The Daily Telegraph', called her performance "admirable". Later, Emma was nominated for five awards for her performance in the film, winning the Young Artist Award for Leading Young Actress in a Feature Film.

After the release of the first film of the highly successful franchise, Emma became one of the most well-known actresses in the world. She continued to play the role of Hermione Granger for nearly ten years, in all of the following Harry Potter films: Harry Potter and the Sorcerer's Stone (2001), Harry Potter and the Chamber of Secrets (2002), Harry Potter and the Prisoner of Azkaban (2004), Harry Potter and the Goblet of Fire (2005), Harry Potter and the Order of the Phoenix (2007), Harry Potter and the Half-Blood Prince (2009), Harry Potter and the Deathly Hallows: Part 1 (2010), and Harry Potter and the Deathly Hallows: Part 2 (2011). Emma acquired two Critics' Choice Award nominations from the Broadcast Film Critics Association for her work in Harry Potter And The Prisoner Of Azkaban and Harry Potter And The Goblet Of Fire. The completion of the seventh and eight movies saw Emma receive nominations in 2011 for a Nickelodeon Kids' Choice Award, and for Best Actress at the Jameson Empire Awards. The Harry Potter franchise won the BAFTA for Outstanding British Contribution to Cinema in February 2011.

2011 saw Emma in Simon Curtis's My Week with Marilyn (2011), alongside a stellar cast of Oscar nominees including Michelle Williams as Marilyn Monroe and Kenneth Branagh as Sir Laurence Olivier, in addition to Eddie Redmayne, Dame Judi Dench, Dougray Scott, Zoe Wanamaker, Toby Jones and Dominic Cooper. Chronicling a week in Marilyn Monroe's life, the film featured Emma in the supporting role of Lucy, a costume assistant to Colin Clark (Redmayne). The film was released by The Weinstein Company and was nominated for a Golden Globe for Best Motion Picture - Comedy or Musical. In 2012 Emma was seen in Stephen Chbosky's adaptation of his coming-of-age novel The Perks of Being a Wallflower (2012), starring opposite Logan Lerman and Ezra Miller. This independent drama centered around Charlie (Lerman), an introverted freshman who is taken under the wings of two seniors (Watson and Miller) who welcome him to the real world. The film premiered at the 2012 Toronto International Film Festival and received rave reviews. The film won the People's Choice Award for Favourite Dramatic Movie and Emma also picked up the People's Choice Award for Favourite Dramatic Movie Actress. Emma was awarded a second time for this role with the Best Supporting Actress Award at the San Diego Film Critics Society Awards where the film also won the Best Ensemble Performance Award.

In summer 2013, Emma starred in Sofia Coppola's American satirical black comedy crime film, The Bling Ring (2013), opposite Katie Chang and Israel Broussard. The film took inspiration from real events and followed a group of teenagers who, obsessed with fashion and fame, burgled the homes of celebrities in Los Angeles. The film opened the Un Certain Regard section of the 2013 Cannes Film Festival. Emma also appeared in a cameo role as herself in Seth Rogen's apocalypse comedy This Is The End (2013). The film tells the story about what happens to some of Hollywood's best loved celebrities when the apocalypse strikes during a party at James Franco's house.

2014, Emma was seen in Darren Aronofsky's Noah (2014), opposite Russell Crowe, Jennifer Connelly, Ray Winstone, Douglas Booth, Logan Lerman, and Anthony Hopkins. The film told the epic, biblical tale of Noah and the ark. Emma plays the role of Ila, a young woman who develops a close relationship with Noah's son, Shem (Booth). Noah made an outstanding $300m since its release in March. In 2015, Emma starred in Regression (2015), written and directed by Alejandro Amenábar. Also headlined by Oscar-nominated Ethan Hawke, and set in Minnesota in 1990, Regression tells the story of Detective Bruce Kenner (Hawke), who investigates the case of young Angela, played by Emma, who accuses her father of sexual abuse.

In 2012, Emma was honored with the Calvin Klein Emerging Star Award at the ELLE Women in Hollywood Awards. In 2013, Emma was awarded the Trailblazer Award at the MTV Movie Awards in April and was honored with the GQ Woman of the Year Award at the GQ Awards in September. Further to her acting career, Emma is a Goodwill Ambassador for the UN, promoting gender equality and the empowerment of women. Emma graduated from Brown University in May 2014.

2017, Emma starred in the live-action Disney fantasy Beauty and the Beast (2017), one of the biggest movies of all time in the U.S., and the dramatic thriller The Circle (2017).

Family:

Jacqueline Luesby(Parent)

Chris Watson(Parent)

Relatives:

Freda Emma Watson (Duerre)(Grandparent)

Toby Watson(Half Sibling)

Lucy Watson(Half Sibling)

Nina Watson(Half Sibling)

Alex Watson(Sibling)

Trivia:

Has kept a painstakingly detailed log of her everyday life since her film career took off, as many as 30 journals in total.

Favorite Harry Potter book is Harry Potter and the Prisoner of Azkaban.

Best friends with Harry Potter co-stars Daniel Radcliffe and Rupert Grint after practically growing up with them on the Harry Potter set. She calls them her 'brothers'.

Was offered the titled lead in Cinderella (2015) but turned it down.

At the age of fifteen became the youngest person to appear on the cover of Teen Vogue magazine.

Paris at the time of Emma's birth. Emma lived in France until the age of five, when her family returned to the United Kingdom.

Was named the 'Highest Grossing Actress of the Decade' by the Guiness Book of World Records. Her film work in the past decade has grossed over 5.4 billion dollars worldwide (2009).

She achieved eight A* and two A passes in her GCSEs (exams British school pupils take in their last compulsory year of secondary school).

Prefers to sign autographs for fans rather than taking pictures with them.

Auditioned eight times (at age 9) for the role of Hermione Granger in the Harry Potter films, playing opposite five prospective sets of Harry's before landing the part.

Was offered the role of Mia in La La Land (2016) but turned it down to play Belle in Disney's live-action Beauty and the Beast (2017). The role then went to Emma Stone, who won an Academy award for her performance. Ironically, she replaced Stone for the role of Meg March in Greta Gerwig's Little Women (2019) after Stone was unable to take the part due to her scheduling conflicts in promoting The Favourite (2018).

Both of her parents are lawyers.

Emma's favorite movies include Notting Hill (1999), Love Actually (2003), Bridget Jones's Diary (2001), Four Weddings and a Funeral (1994), About Time (2013), Giant (1956), Breathless (2008), Amélie (2001), Pan's Labyrinth (2006), The Fountain (2006), The Shawshank Redemption (1994), Gladiator (2000), Braveheart (1995), The Curious Case of Benjamin Button (2008), Philomena (2013), Blue Jasmine (2013), Rush (2013), 12 Years a Slave (2013), The Great Beauty (2013), The Woodmans (2010), Closer (2004), Pretty Woman (1990), Chicago (2002), Romeo + Juliet (1996), Moulin Rouge! (2001), Dirty Dancing (1987), Grease (1978), Shrek (2001), Ice Age (2002), and Finding Nemo (2003). school and local teams), skiing, painting, cooking, singing, and dancing (has twice competed with her school in Rock Challenge 2006 and 2007).

Entering Brown University, Rhode Island, U.S.A. after completion of the Harry Potter Movies (July 21, 2009).to study literature.

Emma's favorite actors are Johnny Depp and Russell Crowe.

Her parents divorced in 1995; each parent has since remarried. On her father's side, she has a younger half-brother, Toby, born 2003, and half-sisters (identical twins) Lucy and Nina, born in 2004. Lucy and Nina played the younger version of her character Pauline in Ballet Shoes (2007). She also has two stepbrothers through her mother's remarriage.

Has said that she'd like to work with directors Alfonso Cuarón and Guillermo del Toro.

Is a certified yoga and meditation instructor.

Is a fan of The Golden Compass (2007) and the rest of the fantasy trilogy 'His Dark Materials' by Philip Pullman.

Emma's favorite actresses are Julia Roberts, Renée Zellweger, Sandra Bullock, Rebel Wilson, Goldie Hawn, Nicole Kidman, Cate Blanchett, Helena Bonham Carter, Natalie Portman and Meryl Streep.

Is the former roommate and current best friend of America's Next Top Model (2003) Cycle 18 winner, Sophie Sumner.

Attended The Dragon School, a renowned preparatory school in Oxford, between September 1995 and July 2001. She then went on to attend Headington School, a private all-girls school, between September 2001 and July 2006.

She enrolled in a Shakespeare course at The Royal Academy of Dramatic Arts during the summer of 2008.

May 25, 2014) Graduated from Brown University with a bachelor's degree in English literature.

Emma's favorite television shows include Friends (1994), Sex and the City (1998), Girls (2012), Gossip Girl (2007), America's Next Top Model (2003), Mad Men (2007), House of Cards (2013), Pride and Prejudice (1995) and The Crown (2016).

Has two cats, one is named Bubbles and the other is named Domino.

Emma Watson has stated that, since her audition at age 9 through the completion of 8 Harry Potter features by age 22, the hectic, educational experience consumed over half her life.

She was named after her paternal grandmother, born Freda Emma Duerre who, after marriage, became Freda Emma Duerre Watson.

Was in a relationship with Will Adamowicz from 2012-2013. The couple met while studying at Oxford University in 2011.

Took AS levels in English, Geography, Art, and History of Art in May 2007, and has now dropped History of Art to pursue the three A levels.

When she made a promotional appearance on a Dutch TV talk show for Harry Potter and the Order of the Phoenix (2007), the interview ended with her joining the Dutch illusion act Magic Unlimited, who sawed her in half.

Has the same birthday as her Beauty and the Beast co-stars: Luke Evans and her Harry Potter collaborator Emma Thompson.

Is taking legal action after private photos of her trying on various outfits were stolen and posted online.

Was ranked #3 on Empire Magazine's '100 Sexiest Movie Stars' list.

She and her Harry Potter co-stars Daniel Radcliffe and Rupert Grint were named #9 on Entertainment Weekly's Best Entertainers of the Year in 2005.

Ranked as having one of the most beautiful famous faces by "The Annual Independent Critics List of the 100 Most Beautiful Famous Faces From Around the World." She was ranked #2 in 2010, #12 in 2009, #27 in 2008, #30 in 2007, and #54 in 2006.

In 2008, BoyDestiny wrote and sang the song "You Got Me Going", also known as The Emma Watson Song.

Sixth highest paid actress of 2017 with $14 million.

Passed her driving test in the U.S. in 2008 and drives a Toyota Prius.

Was named the face of the 2009 Fall/Winter Burberry Campaign.

Radio One's movie critic James King named "Ron Weasley" and "Hermione Granger", played by Rupert Grint and Emma Watson, as number 4 in his Top 5 Movie Couples list on The Colin and Edith Show (2006).

Emma's style icons include Jean Seberg, Mia Farrow, Kate Bosworth, Diane Kruger, Jane Birkin, Edie Sedgwick, Grace Kelly, Audrey Hepburn, Lauren Bacall, Sofia Coppola, Cate Blanchett, Tilda Swinton, Françoise Hardy, Charlotte Rampling and Michelle Obama.

She served on a jury to select the 2004 teen-aged film-makers' First Light Film Awards. The ceremony was held in London's Leicester Square. Other jurors included Pierce Brosnan, Kenneth Branagh, and Samantha Morton.

In 2007, Forbes Magazine estimated her earnings for the year at $4 million.

Has worked closely with the organic and fair trade pioneer People Tree.

Announced that she would be collaborating with People Tree, a Fair Trade Fashion Company, as a creative advisor for the new Spring/Summer collection.

Emma's favorite filmmakers are Richard Curtis, Alfonso Cuarón, Guillermo del Toro, Sofia Coppola, Darren Aronofsky, Danny Boyle, David Fincher, Lynne Ramsay, Ang Lee, and Tom Hooper.

Emma Watson has combined/hyperactive type ADHD, for which she has been medicated ever since she was 5.

Has spoken in the United Nations Organization in favour of Women's Rights, including abortion.

Was ranked #8 in Portrait Magazine's 'Top 30 Under 30' (2009). 'Harry Potter' cast mates Evanna Lynch, Rupert Grint, Bonnie Wright, Tom Felton and Daniel Radcliffe also made the list on the 3rd, 5th, 7th, 14th and 18th place respectively.

Was ranked #15 on Forbes List of The 20 Top-Earning Young Superstars.

Ranked #4 by Portrait Magazine for favorite celebrities by fans' vote. Her Harry Potter co-star Bonnie Wright Had also Ranked #5.

Includes Justin Timberlake and Alanis Morissette among her favorite singers.

She was the front-runner for the role of Yelena Belova in Black Widow (2021), but it was given to Florence Pugh.

Was ranked #3 on Moviefone's '25 Hottest Actors Under 25'.

(April 24, 2011) Her publicist, Vanessa Davies, said that Emma will transfer from Brown University to another school in the Fall of 2011.

Was ranked #3 on 'Yahoo! List of the 10 Most Popular Stars of 2007'.

Was ranked #69 on Maxim magazine's Hot 100 women of 2011 list.

Once accidentally mistook Jimmy Fallon for Jimmy Kimmel.

Was born at 6:00pm (GMT + 1 hour) on a Sunday.

Voted #17 on Ask Men's top 99 'most desirable' women of 2012.

Ranked #94 on the Maxim magazine Hot 100 of 2008 list.

Was Entertainment Weekly's "Entertainer of the Month" for the month of July (2009).

She was ranked #8 on Portrait Magazine's 'Top 30 Under 30' list.

Ranked #29 on Askmen's list of the Top 99 Most Desirable women for 2013.

She was ranked #3 on Teen Vogue's list of the Best Dressed celebrities of 2009.

Ranked #15 in the 2011 FHM Australia of "100 Sexiest Women".

Was ranked #97 on Forbes List of The Celebrity 100.

Ranked #23 in the 2011 FHM list of "100 Sexiest Women in the World".

She was ranked #6 on MSN's list of 'Best Dressed Stars of 2009'.

Was ranked #28 on Entertainment Weekly's '30 Under 30' the actress list.

Ranked #29 in the 2010 FHM UK list of "100 Sexiest Women in the World".

Was ranked #26 on Empire Magazine's '100 Sexiest Movie Stars' (2007).

Named #1 on 'Sexiest Movie Stars" Poll on Empire Magazine voted by over 50 000 people around the world.

She was considered to voice Coraline Jones in "Coraline", which later went to Dakota Fanning.

Salaries

Beauty and the Beast (2017) - $15,000,000

Harry Potter and the Deathly Hallows: Part 2 (2011) - $15,000,000

Harry Potter and the Deathly Hallows: Part 1 (2010) - $15,000,000

Harry Potter and the Order of the Phoenix (2007) - $4,000,000

Harry Potter and the Prisoner of Azkaban (2004) - $125,000

Harry Potter and the Chamber of Secrets (2002) - $125,000

Harry Potter and the Sorcerer's Stone (2001) - $125,000

#emma watson

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ravelte · 4 years

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i dream about you.

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septembercfawkes · 5 years

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Undercurrent vs. Subtext vs. Theme

A while ago, I had a follower ask me to do a post about undercurrents, subtext, and themes, and how they are different, which is also one of the reasons I did that whole article about how to write theme the other week.

So basically:

I have an article about undercurrents.

I have an article about subtext.

And I now have an article about theme.

Worth noting is that "undercurrent" is a term I made up. I don't know if other people use another word for it. So if you have no clue what I mean by "undercurrent," it's probably only because you haven't read my article on it, which is fine. Whatever you want to call it, it's helpful you understand the concept.

But here's the thing, as I've thought about this post, some could easily argue that "undercurrent" and "subtext" are the same thing (and maybe that's why a term for "undercurrent" doesn't exist), but to me, they are somewhat different concepts, even if they overlap. Sorta like nectar vs. honey.

Also, I think it's important to keep in mind that I'm probably regularly evolving my ideas about writing, to some extent. And since this is a blog, you guys get to follow my process with that, so my ideas and term choices might shift a little bit, which can be confusing. (Like in my recent theme article, I had to admit to using the term "theme" to mean both "thematic statement" and "theme topic" in prior posts.)

But, I still think it's helpful to think of subtext and undercurrent as two different concepts, if two sides of the same coin.

Undercurrents

Undercurrent to me is the "under" side of the story. I think of this more as . . . well . . . real (. . . in an imaginary/fiction sort of way.) It is the story (or stories) under the one we as an audience are following.

For example, mystery plots have an "under story." The audience follows the person who is investigating, that's the "surface" story. But the "under story" is the murderer's story (assuming this is a murder mystery) of how and why he killed the victim. We won't get a clear idea of the murderer's story until the end of the book, but we see parts of it hit the surface story (like clues and hints).

J. K. Rowling does this very well, which is why I always refer to her when talking about the concept of undercurrents. Every wizarding world story (except the last one, which is why I think it sorta failed and I wrote an article on that) has both a surface story and an undercurrent story.

Like this:

Sorcerer's Stone

Surface story: A boy finds out he's a wizard and goes to a school to learn how to wield magic.

Undercurrent story: Voldemort is trying to get the Sorcerer's Stone to return to power

Chamber of Secrets

Surface story: Harry returns to Hogwarts and tries to learn who is opening the Chamber of Secrets

Undercurrent story: Voldemort is using Ginny Weasley to try to come back through a Horcrux

Prisoner of Azkaban

Surface story: While at school this year, Harry has to worry about being attacked by Sirius Black

Undercurrent story: Sirius escaped from prison to kill Peter Pettigrew as punishment for what happened with Lily and James.

Goblet of Fire

Surface story: Harry has to compete in a dangerous tournament

Undercurrent story: Barty Crouch Jr. is working to resurrect Voldemort

Order of the Phoenix

Surface story: Harry is pitted against Umbridge, who works for the ministry, and is wrecking havoc on the school.

Undercurrent story: Voldemort is trying to use Harry to get the prophecy from the Department of Mysteries

Half-blood Prince

Surface story: Harry is obsessed with finding out what Malfoy is doing and is sure he is a Death Eater.

Undercurrent story: Voldemort created at least seven Horcruxes and Dumbledore is hunting them.

Deathly Hallows

Surface story: Harry is hunting and destroying Horcruxes.

Undercurrent story: The Deathly Hallows themselves, particularly the fact Voldemort wants the Elder Wand.

Fantastic Beasts and Where to Find Them

Surface story: Newt needs to recapture all the beasts that escaped into New York.

Undercurrent story: Grindelwald is trying to get his hands on an obscurus as a weapon.

Fantastic Beasts: Crimes of Grindelwald

Surface story: ????? (<-- missing!)

Undercurrent story: The identity (and significance) of Credence

Often by the end of the story, the undercurrent, or at least parts of it, come to the surface. Harry stops Quirrell from getting the stone, he defeats the Horcrux in the chamber, he frees Sirius Black, learns that Moody is actually Barty Crouch Jr. etc.

But often an undercurrent story will hit the surface story in some degree in some places prior.

The undercurrent story is still just as "real" as the surface story. We just don't see all of it (otherwise it would be another surface story), but in your fictive world, it's an additional set of events that played out.

In some rare stories, such as "Hills like White Elephants" by Earnest Hemingway, almost nothing connects the undercurrent story to the surface story, so unless someone tells you or you've studied literature, you may read the story and finish it scratching your head. You didn't know or have access to the undercurrent story, only the surface one (which was rather uneventful).

I like to take this a step further, and say there are even levels within the undercurrent--how "deep" it goes.

For example, we may have an undercurrent story for one Harry Potter volume, but there is also a deeper undercurrent through the whole series.

I'm not going to review all the level concepts, but if anyone wants to learn more, they're in my undercurrent article.

The undercurrent is content that is happening in the fictive world that the audience doesn't directly see fully play out.

It makes the story feel bigger than what's on the page and also draws the audience in, because it invites them to participate instead of just spectate.

But maybe the reason "undercurrent" doesn't have its own term is because a lot of people just lump it in with "subtext." After all, isn't "subtext" everything that isn't directly on the page?

At the same time, I know I'm not the only person in this industry that criticizes the ambiguity of writing terms (like "theme" and "hook" and "plot point two" and "beat" and even "ambiguity" itself). No one polices the terms, which I think makes it more difficult to teach and learn about writing. And personally, I sometimes think we lump too many concepts to the same term, so we miss out on specifics and details. It would be like calling every type of dog a "dog," and not noticing the differences between the pug and the St. Bernard. I sometimes feel we are missing the "breed" equivalent in writing terminology. We call all dogs, "dogs." This makes it more difficult to discern and harness each breed's specialties.

Subtext

For undercurrents, I think of more of the larger fictive world, but for subtext, I think more of the actual book and getting it on the page (or rather, with subtext, implying it enough without putting it on the page directly). In that sense, in the book, the undercurrent usually manifests as subtext in some way.

Subtext is what is implied, but not stated directly on the page.

Since the undercurrent story/stories is not the surface story, then naturally, any sense of it that doesn't fully surface is going to show up as subtext.

But as I said above, an undercurrent story may come to the surface story, often at the end (though technically, it can surface elsewhere, I guess).

Which at that point, the undercurrent story is no longer using subtext, but now stated directly in the text. (This would be the point in all the Harry Potter books where Harry discovers the undercurrent story). It touched and went into the surface story. It is at the surface in that moment.

I guess, technically, you could have an undercurrent story that never appears as subtext in the book, and then suddenly comes to the surface at a point in the text. Like . . . surprise! Guess what else has been going on all along that we had no clue about? I'm trying to think of a specific example . . . It's like when a character suddenly reveals they have been taking dance lessons all year, but there were zero hints or subtext about it. A lot of times, this might manifest as a deus ex machina. However, if it's not vital to solving a plot problem, then it might not be one, just a bit of undercurrent that has surfaced.

Whew! This is getting technical. :)

I guess I think of subtext as more of the highway the undercurrent may take. But maybe the term "subtext" is still too ambiguous in the writing industry. Maybe like the word "theme" it actually has two or more components. The technique of subtext. And the content of subtext. But like "theme," we all point at it and just say, "nice subtext" (guilty).

In my article on subtext, I titled it "How to Write What's not Written," and it's largely about the technique of subtext. The actually process of getting it on the page indirectly.

You could say that the concept of undercurrent and the concept of subtext content largely overlap. Which is probably why me talking about each of them can be confusing. Like a lot of writing topics, it kind of gets down to how you want to categorize them (unfortunately). For example, in my series on story structure, I talked about how a lot of "story structures" are similar, but have different names and terms for the same concepts and different approaches to how to slice and dice the story. In a Hero's Journey, the "Call to Action" is essentially the "inciting incident."

The subtext content, I guess, in a sense, is in the undercurrent, because it's not stated plainly on the page. But I'm not sure that all subtext content is attached to an undercurrent story.

If one character hates broccoli, but that's never stated directly on the page, just implied, and it's never really connected to anything else in the book, then I'd probably just call it subtext content, not an undercurrent story. Maybe the fact she hates broccoli has no story behind it; it's just the way she was born.

However, in a scene, it may be subtext content and manifest on the page through subtext technique.

Let's try thinking of this and breaking this down a different way.

Subtext content is still "under" the surface, but it may not be connected to anything really. It may not have a cause and effect or tell a story or have any significance.

But an undercurrent story, which is also "under" the surface, does.

So maybe, from this perspective, I'm using "undercurrent" too ambiguously. Because subtext content is still in the "undercurrent" floating around, but may not always be connected to anything significant overall. It's in the current of the river, but not necessarily following the currents.

Still, subtext content and undercurrent story can overlap and be the same element in some scenes, but since I don't think all subtext content is part of an undercurrent story, to me, they are two different things.

(Anyone confused yet? 😆😅)

If you are confused, no worries, you do not need to see stories the same way I do to be successful! But, for me, seeing these as different concepts, helps me be able to use them better (and helps me know what I am doing).

It's also possible to have lots of subtext content in the under part of storytelling, without having an actual undercurrent story. It is just subtext content manifested through subtext technique, that doesn't connect to an "under" plot.

Every successful story needs subtext content. Similar to what I said in the section above, subtext content also invites the reader to be a participator instead of just a spectator. And it also gives the impression that there is more to the story than what is on the page.

But I would argue that many of the most satisfying stories, and certainly the stories with some of the greatest re-read value, don't just have subtext content, but undercurrent stories--subtext content that connects to something bigger and greater (and more rewarding).

Note: Looking back, I've realized that in other places I've referred to "subtext content" as "subtext subject"--great, now I'm being ambiguous with my own terms 🤪 I might have to go through later and try to make that more cohesive.

Theme

Okay, so how does theme fit into this crazy?

Well, theme is kind of its own thing, but in storytelling, everything is interconnected, so in a lot of ways, basically nothing is its own thing. 😅

But lets not confuse ourselves more than we already have today.

The main two flaws with theme you want to watch out for, are:

1. you don't want to swing the thematic statement at everything from beginning, through middle, and to the end, and

2. you don't want to over-simplify opposing views and alternate experiences with the theme topic.

The thematic statement is meant to be the answer, the resolution, to the characters' struggles concerning the theme topic. If you are throwing the thematic statement (the "answer") all around throughout the story, it will probably be heavy-handed and preachy. Over-simplifying other perspectives and experiences only makes this worse, and actually weakens, not strengthens, the theme.

Elements of theme are often handled through subtext (both as subtext content and (obviously) subtext technique), and they can relate to undercurrent stories. Being more subtle (by using them this way), can also help you avoid problem #1 (though may not solve it completely).

For theme, I feel that undercurrent stories and subtext are just more ways to render it effectively in the narrative.

Throughout the course of a story, theme may seem to play out similar to an undercurrent story--where the theme topic is touched on in the surface story again and again, until finally the thematic statement comes to the surface at the end. But honestly, trying to look at it this way seems to muddy it more to me, and not all undercurrent stories surface.

Also, some elements of theme may be addressed directly on the surface of the text, and therefore not be subtext or undercurrent story.

For me, I like to think of theme more as its own thing.

Anyway, I hope this all hasn't been too overwhelming! And by all means, don't feel like you need to think about stories the same way I do. Take what is helpful to your writing.

Next week I'll be back with a simpler subject.

#writing tips #writing tips and tricks #writeblr #fanfiction #harry potter #fantastic beasts #fanfic #writing a book #writing advice #writing reference #undercurrents #subtext #theme #author #writing help

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nerdy-bookworm-1998 · 5 years

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The Arranged Marriage part 5: Phoenix Rising

Pairing: (Royal AU) Prince!Steve Rogers x Princess!Reader Words: 1344 Warnings: Violence A/N: If you wish to be tagged in future chapters/works, feel free to send me an ask. Please leave feedback/reblogs. Please check out my Ko-Fi and Patreon, links are available in my bio.

Over the course of the next week, I avoided Steven as much as possible. I saw to the traveling arrangements for the journey to the Rogers' country, packed all the possessions that I would take with me, and collected all of my favorite recipes from the castle chefs.

With only a few days before our departure, I wanted to explore the city markets one last time. I had planned on only going with Nat and Wanda, my ladies maid, but that plan was derailed when father requested during breakfast that I take Steven with me. "The people need to know that their princess will be happy. That she is in good hands," father had explained.

Thus, with a slightly soured mood, and dressed in a forest green gown, I had agreed to meet the prince at the doors of the castle and take him on a tour of the city. I almost scoffed and rolled my eyes when I approached the doors and saw the prince waiting with a platoon of guards. "No need to look so excited your highness," Steven sneered.

"Likewise your grace. I do not know how dangerous your capital is, but here, the people are peaceful. There is no need for an entire platoon of guards. You may choose two, but no more, or I am not going anywhere," I stated firmly, much to the prince's obvious displeasure. I waited with a patient, yet firm smile while Steven thought over his options before relenting and nodding at his guards, all of them dispersing but for the two in front; a tall, broad-shouldered man with long dark locks and piercing gray eyes; and a dark-skinned man with a pleasant smile and a small gap between his teeth.

"James and Samuel, I trust them with my life," Steven says shortly, gesturing to each man in turn before raising his eyebrow at me, clearly expecting some sort of introduction to the women at my side.

"Natasha and Wanda, two of the people I trust most in this world," I say, gesturing to the fiery redhead and petite brunette at my side. "Now that introductions are over, shall we go?" I ask, turning to the open doors.

Steven offers his arm without another word and we set off down the bustling street. Despite the grumpy royal pain in the neck at my side, I find myself actually having fun. I talk to many of the shop keeps and citizens, reassuring them that I would talk to my father about what more we could do about their hardships. I also make sure to buy something from each of them.

As the afternoon wanes, Steven starts insisting that we head back to the castle. I open my mouth to tell him to keep his crown on when a large hand grabs my arm roughly and yanks my body out of Steven's reach. "Drop your weapons or the girl gets it!" a greasy voice behind me leers and presses the cold steel of a dagger against my throat as another large, hairy man jumps out and grabs Steven in a similar fashion.

A dead calm settles over me as I discretely slip the ornate dagger that is hidden in the folds of my dress into my hand. With the precision of a striking cobra, I bring the knife up into my assailant's chest before flinging it out and into the shoulder of the man holding a blade to Steven's throat. I knew that the strikes would not kill them, merely distract and incapacitate them long enough for Nat to spring forward and slap irons onto their wrists.

I start to feel lightheaded as I look down to see crimson staining my skin and dress. I manage to take a step forward only to stumble over my feet. "Y/N!" Steven exclaims and rushes over, wrapping his arms securely around my waist.

"I'm fine, it's just a scratch," I reassure him even as my head starts to feel slightly fuzzy. It feels like I'm floating in cool water, my body relaxing under the calming pressure.

I can hear Steven yelling orders, but he sounds far away, it's just me in an endless pool of calm, drowsiness starting to pull me under as strong arms lift me up, gentle fingers caressing my cheek and neck. The last thing I hear before I go under is a whisper on the wind, calling my name.

When I wake my mouth and throat are parched and my eyelids feel glued together. When I finally manage to wrench them open I recognize my rooms. The curtains are shut and there is a roaring fire going in the fireplace with many fur blankets drawn over me. The only change is the chair that had been pulled up next to my bed with the large, blond haired man sitting in it, looking quite uncomfortable as he dozes. I reach out for a smaller pillow and lightly toss it at him.

The moment it lands in his lap, Steven jerks awake with a mumbled "I'm awake!" Then he sees my thoroughly amused face watching him and it is as if a switch has been flipped inside him, his entire being lights up and he moves to sit on the bed, taking my hand in his and placing the softest of kisses on it. "Thank the heavens you're awake!" Steven exclaims before proceding to fuss over me; fluffing the pillows; bringing a goblet of water for me to drink.

When he finally allows me to get a word in the question bursts from my lips like a canon, "Who the hell are you, and what have you done with the prince?"

The questions seem to startle him and his face falls. He looks down at his fingers playing with a fur blanket. His voice is quiet, almost subdued as he explains, "You took a knife for me, despite how beastly I acted towards you. You could easily only have injured your own attacker and let them have me, but you didn't. I was so thankful for you, then just as I was about to express my gratitude, you stumbled and I only caught you just in time as you fainted. The...the blades were dipped in a fast-acting poison. I thought I was going to lose you, and the only thing I could think of was how much of an ass I've been to you. I am so sorry y/n. I promise I'll be better. I'll try to be the man that you deserve."

His confession takes me by surprise and I lay there gaping at him like a fish out of water, unable to form any words. Thankfully I am saved from answering by a knock on the door. James strides in, looking grave. He smiles briefly when he sees that my eyes are open. "It's good to see you awake at last, your highness," he grins before looking at Steven, his brows furrowing and his mouth pulling into a scowl. "We know who ordered the attack, it was the Black Order," James says.

My blood runs cold as I watch the color draining from Steven's face. As the tension mounts in the silent room, a thought clicks into place and I cannot stop the grin spreading across my face as laughter bubbles up in my throat. Both men look at me, worried that I had lost my mind. Once I can bring myself under control again I explain to Steven and James, "Thanos feels threatened by our alliance. He knows that once we are married, our countries united, we would have enough power to crush him, his so-called empire and his pathetic band of mercenaries under our boots. This was an act of war to destabilize us." I move so that I can stand from the bed, Steven moving to support me in case my legs fail. I give him a grateful smile before my face hardens as I look at James. "Well, if it is a war he wants, it is a war he shall get."

Tags:

@mcdesij @spiderrrling @arrow-guy @interestedbystanderwrites @caplansteverogers @gwendelerynan @here2have-fun @bvckys-doll @bookscoffeeandracoons @bambamwolf87 @loricameback @rockrchick51 @love-nakamura @baebeepeach @timelordy-fangirl2 @jewelofwinter @caramell0w @jewels2876 @ladysergeantbarnes @notawritergettingtherethough @patzammit @fanfictionjunkie1112 @lumar014 @kirsty-evans-writes @robertdowneyhiddleston @lil-lex1 @dragonrosegardens

#marvel #avengers #royal au #the arranged marriage #prince!Steve rogers #princess!reader #steve rogers x reader #violence

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thanidiel · 5 years

Text

Dominion

Sometimes, the soldier could force fondness to the ways of which Autumnvale has attempted to adapt to her world.

The pheasant, however, is braised.

The texture too soft and tender; less meat and more sodden. Neither is much appreciation to be had for the tang of white wine in its juices; a waste of drink, if she were to be asked. With every bite of fare, the grains of mustard within sauce had burst against her teeth; annoying, distracting.

Underneath, the cook, Dawnspire native, had attempted to appeal to her tastes. With her knife lifting up the side of the poultry, she discovers a bed of wilted and blanched dark-greens intermixed with a ‘rustic’ chopping of mushrooms - foraged from the woods along the mountainside, she thinks she heard some sod say.

It is, unabashedly, a homage to the woman’s tastes and the culture of cuisine in the colder regions of Quel’Thalas. Unfortunately, it is equally clear that the elves who fed the mouths of soldiers and officials to pass through this feast hall, had never seen such fare in their lives.

If such a combination of foods were to be prepared proper, the bird would have come charred and speckled with the mustard, crushed. On the side, perhaps, the vegetable and fungi would come raw or in a cloudy soup. And the wine would be in goblet than simmered down in a pot.

There is something to be said about effort, such as Thanidiel has preached when it was in turn to say something gracious, or morale-raising. And food, is food, after all.

She isn’t sure how much she appreciates the way this meal parallels with times of old, still.

Another portion to be slid off the curve of her knife and popped into her mouth - just for the etiquette of it - and the plate is pushed off towards the table’s center. A slow shifting of her digits like the movement of a piano’s hammers, and the blade rotates to a rest along the inside of her palm.

The handle is levered forward.

“Elinden, how many?”

Her gaze raises from underbrow to regard the man addressed. He looks tired. She can see it in the weight pressed upon his eyelids, even with the hacked red mussing around his head.

Good, he should be.

“Sixteen from the Thirteenth Regiment. Seven from the Southeast, Hallowleaf, they said.”

“Leaders ‘mongst them?”

“A former Knight-Master, Kielen Duskshield. From your people, they answered to a Ciril Farlong.”

“Aye. Stabled? Watered? Fed?”

“All being attended to, Captain. As of now, they sit cross-legged on the grasses outside of the Village, taking fill of the bread given.”

“Send them here; they will make their introductions to me before given right to make camp. In the meantime, the eastern-side should be cleared for their presence.”

“The whole of them as usual, Captain?”

“Aye. Be…” the Duskward draws off, the trenched gap between her brows closing into a knit. By now, the knife has been lowered the table. Still, her hand spreads over the blade.

“How many are we at now, Elinden? Last month was three-and-half-hundred ‘tween us and them.”

“With these additions, we number at four-hundred-and-six.”

“Growing a bit big for our britches, aye?”

“And the ovens.. and the grasslands, Captain.”

Thanidiel bows her head towards the mopheaded man standing at the table’s end, needing nothing more to convey the militant courtesy extended to the Lieutenant Brightvale. Again, the knife wheels in her grip; to be slid into breast from overhead with her comrade’s swinging hook of ankle around a stool leg.

“We’ll need to let the word spread. Another few dozens - less than a month’s time - and that is how many more I am willing to allow camp along the Village.”

“Twisting a cap on the jar?”

“Mm. I’m interested in maintaining an army, not a Great Herd.”

“S’that not an army?”

“Not my style, not my speed. Allow the Archon and his to lead thousands to battle. We’ll keep ourselves swift and effective for all of those death-defying stunts, aye?”

“You mean you will, Than– Captain. You do all of that, and it’s up to me and Harthen to calm the men behind us and assure them that we are, in fact, going to survive.”

“Give yourself some credit. It took the whole active company to fell the Reaver. If you’re willing to spread the rumour that I picked up and swung about chains the length of a warship twice-over, you are free to that ass-kissing, Elinden.”

“And Tyr’s Hand?”

“Your’s and the boy’s screaming spurred me on like dueling drums. Couldn’t have done it without you two.”

“One breath, you’re telling us both to shut our fucking mouths and keep quiet. Next breath, you’re saying our yapping inspires you. Which is it, Captain?”

“Whatever conveniences me to say at the time. For now? Shut it, duck your head, eat the vile they’ve been trying to feed me, and let’s both get back to proper work - Aye?”

“I can only shovel so much of it in my mouth at one time.”

“I’ve walked in on you placing at least three time’s the amount of breast on that plate, right in your mouth. Lying bitch.”

“Oi, watch yourself, Captain. Talk a lot of shit about who’s warming my bed; I’ve seen you want to shake your comrades bloody for even thinking about your’s.”

“The difference is that I have a woman and you have romps. Bring someone home to me and we’ll try some reverence.”

“Someone good for me?”

“Academy Diploma. Steady career. What else do those fucks at the top look for?”

“A certain paleness to the skin? A maximum of an inch of fat behind the arm?”

“Mm, toss all of that, then. Rubbish.”

The knife scrapes.

“–Eh?”

“Your attention span…” is drawn off. “Come on, get out. Bring them their first orders.”

“And the vile?”

“Give it to the hound on your way out.”

Thanidiel does not keep her eyes on Elinden with his exit from her hall. Her attention draws towards the knife. Coated in fat and spice, and pointed towards her own person. Out of place/misaligned. She grips unto its handle, and, carefully, wipes one of its two surfaces against the cloth placed to the right of her. Then, it flips as the action is repeated in another stroke. Idly, the thought passes on how the motions resemble Goose’s Formation.

In the midst of noise bubbling around her – Elinden’s stool scraping across rock and earth and weed; his footsteps aloud through even the soft dirt as it compresses under his boot; the voices of men and women filtering from the outside; the constant rumble of horse hooves vibrating underneath her feet – another thought materialises.

The Phoenix Guard wonders who, or what, would be caught between its wings.

Awaiting her answer, the tool is returned to the wood’s surface once more. There, it points outward in solemn welcome of every boot that begins to filter into the space before her.

She notes how they mimick army with the loosely packed southern volunteers at its fore, and the Knights at its back in rows. The number looks suffocated, sandwiched by the layout of the feast hall where its tables format in a folding flank. She can see how they shuffle uncomfortably as they are forced to settle over stone, coal, and ash, from the morning fire since-dead.

The audio of their march dies down to the shiftings of their clothing and roll of debris from underneath soles, then ebbs further into stagnant quiet.

And so it stays. For the Duskward does not immediately boom her greetings nor call forth the tradition of introductions to be made to her by each new head. Instead, she studies.

She studies the wear of their shoes, and how much the leather sags down their feet.

She studies how segments of plate strapped over chainmail, felt, and cotton, fit upon each new soldier’s person.

She studies the length of hair flying over their brows, speckling their cheeks and catching through beaming light.

She studies the roundness of them - the fat that builds upon their arms and bellies. Some look well-fed. Most, she can see how, already, the dwindling trade of Quel’Thalas has drained their bowls.

In particular, the soldier studies its leaders.

Such a thing has yet to be announced - nothing has been announced at all. But it is something Thanidiel finds easily determined.

The mountainpeople have not been trained in formal stiffness. They stood outside of the dutiful (painful, at times) parade rest the Knights beside them had adopted. Instead, those of her birth settle with a way known to her as vigourful, and to others, as defiant: a laxness to their shoulders, an uneven settle of the feet. ‘Round the one she has identified as Ciril, those close have all drawn back their adjacent legs. Protective, and hesitant to remove floor.

Kielen’s presence is louder than that. His garb is something bold and distinctive from ‘mongst the more uniform Knights. While his comrades were content with a single swordbreaker, or leather spaulder, strapped against their persons, she notes how plate layers along the length of his upper arms in broad, encompassing, pauldrons. Instead of a practical barbute hanging from underarm or belt like many others, an arrogant faceguard settles over his coif.

Loud.

Even idle, he is fucking loud.

She can sense the pacing of his breath from here; how it desynchronises from the calm of all those around him until the brute moves forward, like that would smear away the scrutinous glint underneath her brows.

“Former Knight-Master–”

“You are dismissed.”

“...Ma’am?”

“You may present yourself to Fury Company in a week’s time.”

The rest does not need to be given to the air between them. Again, the blade is in her hand, and, again, it is offered forth to the man opposite of her. Confidence removed, the Blood Knight reaches forward. It is an action hesitant and disbelieving as the bare iron is slid, and held, against rivets.

“Consider that your ticket.”

“The… men, ma’am?”

“Everyone here will be evaluated for entry. Grain, work, shelter, to be provided immediately thereof. Dismissed.”

The flicker of relief that goes through the harshness of his face is like a light through forest canopy. It is something redeeming to the butchery of his first presentation. Graceful, now, his surrender goes swiftly.

“Blood and Thunder, Kin’taris.”

“Sun at your back.”

With the turn of his body away from her, the Captain crooks her fingers towards the crowd.

“At random. I don’t care about any exploits or titles before you’ve stepped into this tent so I hope you’ve left it all in the field. Names first, then me and your two Lieutenants, Elinden Brightvale and Harthen Sunbright, will determine your skillsets, units, superiors, and standing orders.”

The small thing with as hastily shorn hair as Elinden, at the very back of Kielen’s former company.

“Yenette Sunshield.”

The giant with thick and loose coils, closest to Ciril.

“Byrran Morningheart.”

The man with copper red skin at the very center of the Knights.

“Oridren Bloodmist.”

The half-elf with an axe-bite on her jaw falling out of the southern pack’s formation.

“Shenuile Darro…”

#writing #thanidiel #autumnvale #sunguard

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jasonsutekh · 7 years

Text

Harry Potter films: Philosopher’s Stone (2001), Chamber of Secrets (2002), Prisoner of Azkaban (2004), Goblet of Fire (2005), Order of the Phoenix (2007), Half-Blood Prince (2009), Deathly Hallows Part 1 (2010) and Deathly Hallows Part 2 (2011)

A chosen wizard completes his education in the hopes that he will one day be able to defeat the darkest wizard who ever lived.

I believe that one of the things which make this series of films so successful is the cast. There is scarcely a single main actor who isn’t recognisable from something else or who didn’t go on to have a good career. The fact that the series also managed to keep so many of its original cast as recurring characters is also quite remarkable and satisfying.

An unfortunate complication in the production of the films was the death of Richard Harris who played the original Dumbledore for the first two films. Although both he and Michael Gambon are marvellous actors, there is a great deal of difference between the two interpretations of the character. Although Harris’ performance is more true to the books, I prefer Gambon’s portrayal as he gives the character more depth as a person.

Another thing that gives these films their charm, besides the realistic effects, great locations and inspired fictional world, is the fact that the films are mostly set in a school which is something that all the target audience of the films can identify with and it is relatable because the characters have the same issues with their experiences in the institution as regular people, although with different variables and good deal of exaggeration.

The main area of the films which don’t make sense are most of Dumbledore’s plans which are often just ridiculous. For example he has several people transform into Harry in order to smuggle him away from his foster home at great risk to themselves instead of simply leaving by muggle public transport which the dark wizards aren’t likely to understand. He also sends small children into the forest full of giant spiders and monsters which is a bit too odd to be ignored.

Harry Potter and the Philosopher’s Stone: 8/10 -It’s certainly worthy of very high praise!-

Harry Potter and the Chamber of Secrets: 8/10 -It’s certainly worthy of very high praise!-

Harry Potter and the Prisoner of Azkaban: 8/10 -It’s certainly worthy of very high praise!-

Harry Potter and the Goblet of Fire: 9/10 -They don’t get much better than this!-

Harry Potter and the Order of the Phoenix: 8/10 -It’s certainly worthy of very high praise!-

Harry Potter and the Half-Blood Prince: 7/10 -Well above average, but no masterpiece-

Harry Potter and the Deathly Hallows Part 1: 8/10 -It’s certainly worthy of very high praise!-

Harry Potter and the Deathly Hallows Part 2: 9/10 -They don’t get much better than this!-

-The first film is the only one in which Harry does not cast an attacking spell.

-In the second film a fake wall was constructed for the blood-written messages to prevent damage to the 500-year-old building.

-Some dubbed versions of the third film have Dumbledore’s role spoken in a similar way to Richard Harris, despite there being a much different person in the role. The Iceland version is an example of this.

-In the 4th book, the students of the visiting schools arrive in October rather than the first day of term and the competitors are chosen at the end of the week the cup is unveiled instead of a month later.

-The fifth film was released only 10 days before the release of the final Harry Potter book.

-In the orphanage scene of the 6th film, Tom Riddle’s room is lit green to reflect him being sorted into Slitherin.

-The 7th film is the only one not to feature any present-day scenes at Hogwarts.

-The last film was shipped to cinemas under the name “Extra Time”.

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acciotomriddle · 7 years

Note

if it's dark Harry prompts, he falls in love (or puppy love) when he's 12 with the memory of Tom Riddle? probably Ginny dies :/

This got a little bit out of hand and I don’t know if this if what you had in mind but hopefully you enjoy this anyway

On Ao3, or under the cut (but please read the warnings)

TW: Non-con, slight underage (Harry is 15/16), Dark!Harry, Character Death (not Harry or Tom), unabashedly evil Voldemort

A lot of people said Harry wasn’t quite right after he came out of the Chamber of Secrets. People who pretended to care about him said it was to be expected; he’d been trapped down there with the body of a dead girl, a dead Basilisk, and a slashed apart diary that had been to blame for the whole thing. Trauma, they said.

Harry wasn’t traumatised. He just missed Tom.

Tom Riddle had been even more handsome in person than he had been in the memory he’d drawn Harry into, and Harry had become immediately smitten with him. Tom had been upset when he’d appeared, swearing that he tried to help Ginny but he just couldn’t, and he never wanted her dead.

Harry had felt sad and Tom had comforted him, told him he would be able to hug him properly if Harry allowed Tom to burrow just a little bit of his magic...Harry had been prepared to let him until Fawkes had swooped in, slashing at the diary lying forgotten in the water and making Tom disappear in a golden glow.

Harry hadn’t been able to get Tom out of his mind since. Tom had been so lovely, handsome and elegant, understanding and intelligent. It wasn’t fair that his memory had been destroyed.

Harry began neglecting Hermione, who didn’t nearly appeal to Harry as much as Tom had. Ron was already gone, taking a year off school after the death of his sister, and while Harry felt sad for Ginny he felt sadder for Tom.

Towards the end of third year, Harry fell into a trap set by Sirius Black, only to learn that it wasn’t really a trap. Sirius told Harry the truth about his parent’s deaths, and how they’d been betrayed by a man named Peter Pettigrew. Sirius had brought Peter with him, captured by Sirius only recently. Sirius wanted Peter to look in Harry’s eyes one last time so that he could remember what he’d done before Sirius killed him.

“I want to watch you,” Harry had said, seething with rage towards Peter. “Let me see.”

Sirius didn’t use his wand and instead beat Peter into a bloody pulp until his battered body could take no more. It was glorious to see.

Harry had thought of Tom afterward, and how his death had gone unavenged. Fawkes was a Phoenix and couldn’t die, but Dumbledore had no doubt been the one to give the order to Fawkes in the first place.

Later, when Dumbledore didn’t fight hard enough for Harry when his name came out of the Goblet of Fire, his resentment towards him grew. Harry threw himself into training for the tournament, knowing if he could be almost as half as smart as Tom had been then he could win the whole damn thing.

Harry did win, every single task, right up until the third one when the trophy whizzed him away to a graveyard and Harry found himself tied to a gravestone that read Thomas Riddle.

Thomas Riddle...it was too much of a coincidence for it to be anyone other than a relative of Tom’s; his father, perhaps, given the dates.

Then the Death Eater who’d bound Harry began a ritual, the words bone of the father sticking out firmly in Harry’s head.

Voldemort rose from the cauldron when it was finished, tall and pale and powerful, and Harry knew he should be terrified but he couldn’t be until he had the truth..

“Thomas Riddle was your father,” Harry stated, drawing Voldemort’s curious gaze to him. “Does that make you Tom Riddle? Please tell me.”

Voldemort loomed over Harry. “Never speak that name again,” he hissed.

“But is it true?” Harry urged. “I have to know.”

“I was him,” Voldemort snarled. “Until I became someone far more powerful.”

And powerful Voldemort was, his strength and aura almost overbearing. It was hard to believe that Harry’s lovely Tom could turn into someone so monstrous, but if Tom was Voldemort, then Voldemort was Tom.

“I want to join you,” Harry begged. “I met you before—the younger you—and I need you. The diary...Dumbledore destroyed it and made Tom disappear. I want Dumbledore dead and I know you want that toe. Please, let me join you.”

Voldemort laughed coldly, running his skeletal hand through Harry’s hair like he was a pet. “An interesting proposition...I can hardly refuse such a sweet request. Let me train you in the way of Dark magic, Harry, and in return I request only your loyalty.”

It was a good job that Dumbledore became reclusive and distant in Harry’s fifth year, because nobody else noticed Harry disappearing night after night. He’d driven away all his friends long ago, and the other teachers were easy to fool.

Voldemort may have once been Tom, but he was truly nothing like him. Voldemort was a good teacher and had taught Harry Dark spells that left him feeling almost high on the power of casting them, but Voldemort was also cruel and arrogant, and sometimes leered at Harry in a way that made him feel uncomfortable. One day Voldemort’s hand slid onto Harry’s thigh, and Harry hexed him with one of the spells he’d been taught just days before. Voldemort had just laughed afterwards, and continued laughing as he Crucio-ed Harry and told him to think twice before denying him next time.

Harry took greater care to keep physical distance between himself and Voldemort after that.

By sixth year, Dumbledore had told Harry about Voldemort’s Horcruxes and how the diary had been one. Harry realised that if he found at least one of them then he could bring his own Tom back to him. Then he could kill Dumbledore and Voldemort, and be free of both of them.

Dumbledore showed Harry memories of Tom which only furthered Harry’s affection towards him. Tom’s cold and neglectful upbringing had been so similar to Harry’s, but then Tom had proven to everyone at Hogwarts that he was the smartest and most gifted student the castle had seen, and gathered powerful friends who all but worshipped Tom...he was almost like a god with his charisma and thrall.

Harry was all too disappointed when the locket he and Dumbledore went to retrieve turned out not to be a Horcrux, but a fake one replaced by one R.A.B. He was even more disappointed when Snape murdered Dumbledore the same night, taking away Harry’s chance of doing it.

“Why would you tell Snape to kill him?” Harry roared at Voldemort later. “You said I would be the one to do it.”

“I told Draco to kill him, believing he would fail and ensure his own death instead,” Voldemort answered lazily. “He and Snape both violated my wishes.”

“Then kill them both,” Harry hissed. “And make them suffer.”

“You do not get to make commands without offering me something in return,” Voldemort snarled. “Give me your body tonight and they’ll both be dead by morning. If you refuse, I’ll send them away so you can’t kill them, and I’ll fuck you anyway.”

Harry had little choice to do anything but agree, and he grunted when Voldemort pushed inside him, trying not to ignore the pain but to take it in, because he wanted to remember this when it came to killing Voldemort.

And now, at least, he knew what he wouldn’t have with Tom. Tom would prepare Harry and work him open, be rough but not violent, would make Harry see stars, and would kiss him tenderly.

“I hate you,” Harry spat when Voldemort finally pulled out of him, leaving Harry’s thighs wet and sticky. “Kill Snape and Draco by the morning or I’ll make you regret tonight.”

The next morning Harry woke to two familiar-faced corpses hanging outside his bedroom window.

Harry ran away after that.

He spent weeks in the wild countryside, avoiding Snatchers who Voldemort had sent out to bring Harry back to him. Harry managed to stay out of their grasp, and even killed one or two of them just because he could.

He eventually found and slaughtered a Dementor, using a spell Voldemort had taught him, and stole the Dementor’s heart. He’d read of a potion that could be used with the heart as an ingredient, and the soul of whoever’s skin the potion touched would be pulled out of their body and given to the maker of the potion. It would not be true death that Harry wished for Voldemort, but Harry couldn’t bring himself to kill any of the Horcruxes. And at least this way Harry would be able to trap Voldemort’s soul and bury it in a concrete prison ten feet underground where he’d never be able to flee and return again, which to Voldemort would feel far worse than death.

Harry finally found a Horcrux in the most unexpected of places. He’d been hiding out with his godfather in Grimmauld Place when he’d shown Sirius the letter to see if he might know who R.A.B was. Sirius had known.

“That was my brother,” Sirius croaked. “Regulus.”

They both searched the house high and low before finally discovering the golden locket with a serpentine, emerald s engraved on the front. It pulsed with magic and energy, and Harry knew he’d found Tom again.

The locket opened willingly under Harry’s touch, and a memory of Tom much like from the diary appeared, slightly older than the Tom that Harry remembered but just as beautiful.

“I’m going to free you,” Harry said. “Just tell me how.”

The ritual required fresh blood, and Harry had never particularly liked Rufus Scrimgeour anyway. It only took three days to find a way to break into Scrimgeour’s home and abduct him. Harry slit Scrimgeour’s throat without a second thought and used the blood to bring Tom back to life.

To see his Tom fully alive, solid and warm and heart beating, was a glorious thing to behold, and the first thing Harry did was kiss Tom soundly.

Tom wasted no time in taking Harry to bed, far more gentle than Voldemort had been though still domineering, using his power not to intimidate and force but to take Harry apart piece by piece and then make him whole again. When he pushed himself into Harry it actually felt good, and Harry was all but sobbing in pleasure by the end of it.

Afterwards Harry explained the whole story to Tom, and his plans, and when he’d finished Tom smiled darkly.

“Voldemort will pay for hurting you,” Tom drawled. “And then you and I are going to rule the world.”

Voldemort’s obsession with Harry ultimately became his downfall.

Harry allowed himself to be captured by the Snatchers, who dragged him to a very pleased Voldemort. Harry grimaced when the first of several Cruciatus Curses hit him, but he didn’t scream out, knowing that he would soon have sweet, sweet revenge.

Harry gritted his teeth as Voldemort tore Harry’s robes apart, and as Voldemort went to open his own robes Harry grasped the potion vial around his neck, uncorking it and tossing the contents right at Voldemort.

Voldemort hissed loudly, reaching for his wand but collapsing before he could make it. His whole body trembled, shaking violently, his mouth opening in a silent scream as a grey wisp of smoke passed his lips, flying towards Harry and landing right in the now empty potion vial. The smoke in the bottle shook angrily, but Voldemort’s body was entirely lifeless, and the spell that Harry struck it with obliterated it to almost nothing.

The tiny underground prison he and Tom trapped Voldemort in was completely impenetrable and unplottable. Nobody but them knew it existed, and even they wouldn’t be able to find it again once they left the area. It was entirely satisfying knowing that Voldemort had a whole eternity to suffer through, trapped underground with nothing but his thoughts.

“You’ve done magnificent work, darling” Tom purred, wrapping an arm around Harry’s waist as he pulled him close and placed a kiss over Harry’s scar. “There’s such beauty in your power, Harry. I will worship you, and have you at my side forever when we claim the Wizarding World for our own.”

“Worship me, Tom, and I will worship you,” Harry murmured softly. “I love you.”

Tom smiled, dazzling and bright. “Tell me again.”

I love you. I love you.

#tomarry #harrymort #my fic #rape tw #death tw #Anonymous

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