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#the seven princes of the thousand year labyrinth

bethiewhimsy · 2 years

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some more random the seven princes of the thousand year labyrinth manga screenshots

like??? why’d i even screenshoot some of these lolol anyway i hope my love of this manga alone brings about an anime adaptation

THATS SO GAY CRYING amadeus being the fruitiest character no cap

HE LOOKS SO PISSED LOLOL

LAURANCE AWW YOURE SO SWEET BUT WHY THE HELL ARE YOU HOLDING HIM LIKE A CAT WODIIKSMWKWKAKKAMSD

THEYRE SO ADORABLE I AM SCREAMING AND FLAILING they deserve the world

,,,,,,, take this as you will

move aside ranpo there’s a new detective in town seriously why is he so pretty wth

SCREAMING AND CRYING AND DYING AND COMING BACK TO LIFE I LOVE THEM SO MUCH YOUR HONOR LOOK AT THEM RN AND THIS QUOTE IS SO SWEET STOP IT

#the seven princes of the thousand year labyrinth #i swear #if my heart takes over my brain #i will be writing a drabble about zan #anyway i’m trying to summon at least one tspottyl fan #and if august is their favorite character that would be even better #a fan that is a gideon fan?? we’ll have to talk because i understand but at the same time i do not #OMG A FAN THAT LOVES OCHELLO OMGGGG #he was an interesting lad i’ll give you that 😭😭#amadeus does not hold a candle to ochello’s fruitness oh no lol

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basilandthymegarden · 3 months

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You know what's something I can enjoy? I can, at any point, just enjoy my childhood anime crushes. Horohoro from Shaman King, Soul Evans from Soul Eater, Elliot March from Alice in the Country of Hearts, Zan Audubon from Seven Princes of the Thousand-Year Labyrinth, the list goes on. Who cares? I'm here to have fun and enjoy the characters I love.

#in the herb garden #horohoro #shaman king #soul eater #soul evans #elliot march #alice in the country of hearts #heart no kuni no alice #zan audubon #seven princes of the thousand year labyrinth #anime crush enjoyer

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engshoujosei · 1 year

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Seven Princes of the Thousand Years Labyrinth

4 volumes

Licensed by Seven Seas, out of print.

Ewan Juno awakens to find himself part of a group of young people who have been assembled in a strange place, surrounded by stone walls and endless corridors. Gradually, Ewan and the others learn that they are captive in the Castle of the Thousand-Year Labyrinth, and each of them is a candidate to become the next emperor! This castle, with its twisted secrets and deadly mysteries, could grant their hearts' desires... or bring them to their knees in despair.

Related Series

Sennen Meikyuu no Nana Ouji: Eikyuu Kairou no Kishi (Sequel, not licensed) Sennen Meikyuu no Nana Ouji Gaiden: Akatsuki no Ouja (Side Story, not licensed)

Status in Country of Origin

4 Volumes (Complete)

Tags:

Birth Secrets

BL Subtext

Bromance

Castle

Chosen One

Cross-dressing

Detective/s

Emperor-to-be

Empire/s

Famous Character/s

Friendship

Gothic Style

Illegitimate Child/ren

Important Non-Romantic Relationship/s

Labyrinth/s

Mysterious Protagonist

Overprotective Friend/s

Play or Die Situation

Royalty

Thief/ves

Trapped

Treasure/s

#Sennen Meikyuu no Nana Ouji #Seven Princes of the Thousand Years Labyrinth #completed #seven seas #manga #action #drama #josei #mystery #AIKAWA Yuu #ATORI Haruno #2014 #2010s #Ichijinsha #Comic Zero-Sum

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hatsunemikusbitch · 2 years

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The seven year princes of the thousand year labyrinth by Aikawa You and Atori Haruno

#manga #the seven year princes of the thousand year labyrinth

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caesarflickermans · 4 months

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A TENTH ANNIVERSARY INTERVIEW WITH SUZANNE COLLINS

On the occasion of the tenth anniversary of the publication of The Hunger Games, author Suzanne Collins and publisher David Levithan discussed the evolution of the story, the editorial process, and the first ten years of the life of the trilogy, encompassing both books and films. The following is their written conversation.

NOTE: The following interview contains a discussion of all three books in The Hunger Games Trilogy, so if you have yet to read Catching Fire and Mockingjay, you may want to read them before reading the full interview.

transcript below

DAVID LEVITHAN: Let’s start at the origin moment for The Hunger Games. You were flipping channels one night . . .

SUZANNE COLLINS: Yes, I was flipping through the channels one night between reality television programs and actual footage of the Iraq War, when the idea came to me. At the time, I was completing the fifth book in The Underland Chronicles and my brain was shifting to whatever the next project would be. I had been grappling with another story that just couldn’t get any air under its wings. I knew I wanted to continue to explore writing about just war theory for young audiences. In The Underland Chronicles, I’d examined the idea of an unjust war developing into a just war because of greed, xenophobia, and long-standing hatreds. For the next series, I wanted a completely new world and a different angle into the just war debate.

DL: Can you tell me what you mean by the “just war theory” and how that applies to the setup of the trilogy?

SC: Just war theory has evolved over thousands of years in an attempt to define what circumstances give you the moral right to wage war and what is acceptable behavior within that war and its aftermath. The why and the how. It helps differentiate between what’s considered a necessary and an unnecessary war. In The Hunger Games Trilogy, the districts rebel against their own government because of its corruption. The citizens of the districts have no basic human rights, are treated as slave labor, and are subjected to the Hunger Games annually. I believe the majority of today’s audience would define that as grounds for revolution. They have just cause but the nature of the conflict raises a lot of questions. Do the districts have the authority to wage war? What is their chance of success? How does the reemergence of District 13 alter the situation? When we enter the story, Panem is a powder keg and Katniss the spark.

DL: As with most novelists I know, once you have that origin moment — usually a connection of two elements (in this case, war and entertainment) — the number of connections quickly increases, as different elements of the story take their place. I know another connection you made early on was with mythology, particularly the myth of Theseus. How did that piece come to fit?

SC: I was such a huge Greek mythology geek as a kid, it’s impossible for it not to come into play in my storytelling. As a young prince of Athens, he participated in a lottery that required seven girls and seven boys to be taken to Crete and thrown into a labyrinth to be destroyed by the Minotaur. In one version of the myth, this excessively cruel punishment resulted from the Athenians opposing Crete in a war. Sometimes the labyrinth’s a maze; sometimes it’s an arena. In my teens I read Mary Renault’s The King Must Die, in which the tributes end up in the Bull Court. They’re trained to perform with a wild bull for an audience composed of the elite of Crete who bet on the entertainment. Theseus and his team dance and handspring over the bull in what’s called bull-leaping. You can see depictions of this in ancient sculpture and vase paintings. The show ended when they’d either exhausted the bull or one of the team had been killed. After I read that book, I could never go back to thinking of the labyrinth as simply a maze, except perhaps ethically. It will always be an arena to me.

DL: But in this case, you dispensed with the Minotaur, no? Instead, the arena harkens more to gladiator vs. gladiator than to gladiator vs. bull. What influenced this construction?

SC: A fascination with the gladiator movies of my childhood, particularly Spartacus. Whenever it ran, I’d be glued to the set. My dad would get outPlutarch’s Lives and read me passages from “Life of Crassus,” since Spartacus, being a slave, didn’t rate his own book. It’s about a person who’s forced to become a gladiator, breaks out of the gladiator school/arena to lead a rebellion, and becomes the face of a war. That’s the dramatic arc of both the real-life Third Servile War and the fictional Hunger Games Trilogy.

DL: Can you talk about how war stories influenced you as a young reader, and then later as a writer? How did this knowledge of war stories affect your approach to writing The Hunger Games?

SC: Now you can find many wonderful books written for young audiences that deal with war. That wasn’t the case when I was growing up. It was one of the reasons Greek mythology appealed to me: the characters battled, there was the Trojan War. My family had been heavily impacted by war the year my father, who was career Air Force, went to Vietnam, but except for my myths, I rarely encountered it in books. I liked Johnny Tremain but it ends as the Revolutionary War kicks off. The one really memorable book I had about war was Boris by Jaap ter Haar, which deals with the Siege of Leningrad in World War II.

My war stories came from my dad, a historian and a doctor of political science. The four years before he left for Vietnam, the Army borrowed him from the Air Force to teach at West Point. His final assignment would be at Air Command and Staff College. As his kids, we were never too young to learn, whether he was teaching us history or taking us on vacation to a battlefield or posing a philosophical dilemma. He approached history as a story, and fortunately he was a very engaging storyteller. As a result, in my own writing, war felt like a completely natural topic for children.

DL: Another key piece of The Hunger Games is the voice and perspective that Katniss brings to it. I know some novelists start with a character and then find a story through that character, but with The Hunger Games (and correct me if I’m wrong) I believe you had the idea for the story first, and then Katniss stepped into it. Where did she come from? I’d love for you to talk about the origin of her name, and also the origin of her very distinctive voice.

SC: Katniss appeared almost immediately after I had the idea, standing by the bed with that bow and arrow. I’d spent a lot of time during The Underland Chronicles weighing the attributes of different weapons. I used archers very sparingly because they required light and the Underland has little natural illumination. But a bow and arrow can be handmade, shot from a distance, and weaponized when the story transitions into warfare. She was a born archer.

Her name came later, while I was researching survival training and specifically edible plants. In one of my books, I found the arrowhead plant, and the more I read about it, the more it seemed to reflect her. Its Latin name has the same roots as Sagittarius, the archer. The edible tuber roots she could gather, the arrowhead-shaped leaves were her defense, and the little white blossoms kept it in the tradition of flower names, like Rue and Primrose. I looked at the list of alternative names for it. Swamp Potato. Duck Potato. Katniss easily won the day.

As to her voice, I hadn’t intended to write in first person. I thought the book would be in the third person like The Underland Chronicles. Then I sat down to work and the first page poured out in first person, like she was saying, “Step aside, this is my story to tell.” So I let her.

DL: I am now trying to summon an alternate universe where the Mockingjay is named Swamp Potato Everdeen. Seems like a PR challenge. But let’s stay for a second on the voice — because it’s not a straightforward, generic American voice. There’s a regionalism to it, isn’t there? Was that present from the start?

SC: It was. There’s a slight District 12 regionalism to it, and some of the other tributes use phrases unique to their regions as well. The way they speak, particularly the way in which they refuse to speak like citizens of the Capitol, is important to them. No one in District 12 wants to sound like Effie Trinket unless they’re mocking her. So they hold on to their regionalisms as a quiet form of rebellion. The closest thing they have to freedom of speech is their manner of speaking.

DL: I’m curious about Katniss’s family structure. Was it always as we see it, or did you ever consider giving her parents greater roles? How much do you think the Everdeen family’s story sets the stage for Katniss’s story within the trilogy?

SC: Her parents have their own histories in District 12 but I only included what’s pertinent to Katniss’s tale. Her father’s hunting skills, musicality, and death in the mines. Her mother’s healing talent and vulnerabilities. Her deep love for Prim. Those are the elements that seemed essential to me.

DL: This completely fascinates me because I, as an author, rarely know more (consciously) about the characters than what’s in the story. But this sounds like you know much more about the Everdeen parents than found their way to the page. What are some of the more interesting things about them that a reader wouldn’t necessarily know?

SC: Your way sounds a lot more efficient. I have a world of information about the characters that didn’t make it into the book. With some stories, revealing that could be illuminating, but in the case of The Hunger Games, I think it would only be a distraction unless it was part of a new tale within the world of Panem.

DL: I have to ask — did you know from the start how Prim’s story was going to end? (I can’t imagine writing the reaping scene while knowing — but at the same time I can’t imagine writing it without knowing.)

SC: You almost have to know it and not know it at the same time to write it convincingly, because the dramatic question, Can Katniss save Prim?, is introduced in the first chapter of the first book, and not answered until almost the end of the trilogy. At first there’s the relief that, yes, she can volunteer for Prim. Then Rue, who reminds her of Prim, joins her in the arena and she can’t save her. That tragedy refreshes the question. For most of the second book, Prim’s largely out of harm’s way, although there’s always the threat that the Capitol might hurt her to hurt Katniss. The jabberjays are a reminder of that. Once she’s in District 13 and the war has shifted to the Capitol, Katniss begins to hope Prim’s not only safe but has a bright future as a doctor. But it’s an illusion. The danger that made Prim vulnerable in the beginning, the threat of the arena, still exists. In the first book, it’s a venue for the Games; in the second, the platform for the revolution; in the third, it’s the battleground of Panem, coming to a head in the Capitol. The arena transforms but it’s never eradicated; in fact it’s expanded to include everyone in the country. Can Katniss save Prim? No. Because no one is safe while the arena exists.

DL: If Katniss was the first character to make herself known within story, when did Peeta and Gale come into the equation? Did you know from the beginning how their stories would play out vis-à-vis Katniss’s?

SC: Peeta and Gale appeared quickly, less as two points on a love triangle, more as two perspectives in the just war debate. Gale, because of his experiences and temperament, tends toward violent remedies. Peeta’s natural inclination is toward diplomacy. Katniss isn’t just deciding on a partner; she’s figuring out her worldview.

DL: And did you always know which worldview would win? It’s interesting to see it presented in such a clear-cut way, because when I think of Katniss, I certainly think of force over diplomacy.

SC: And yet Katniss isn’t someone eager to engage in violence and she takes no pleasure in it. Her circumstances repeatedly push her into making choices that include the use of force. But if you look carefully at what happens in the arena, her compassionate choices determine her survival. Taking on Rue as an ally results in Thresh sparing her life. Seeking out Peeta and caring for him when she discovers how badly wounded he is ultimately leads to her winning the Games. She uses force only in self-defense or defense of a third party, and I’m including Cato’s mercy killing in that. As the trilogy progresses, it becomes increasingly difficult to avoid the use of force because the overall violence is escalating with the war. The how and the why become harder to answer.

Yes, I knew which worldview would win, but in the interest of examining just war theory you need to make the arguments as strongly as possible on both sides. While Katniss ultimately chooses Peeta, remember that in order to end the Hunger Games her last act is to assassinate an unarmed woman. Conversely, in The Underland Chronicles, Gregor’s last act is to break his sword to interrupt the cycle of violence. The point of both stories is to take the reader through the journey, have them confront the issues with the protagonist, and then hopefully inspire them to think about it and discuss it. What would they do in Katniss’s or Gregor’s situation? How would they define a just or unjust war and what behavior is acceptable within warfare? What are the human costs of life, limb, and sanity? How does developing technology impact the debate? The hope is that better discussions might lead to more nonviolent forms of conflict resolution, so we evolve out of choosing war as an option.

DL: Where does Haymitch fit into this examination of war? What worldview does he bring?

SC: Haymitch was badly damaged in his own war, the second Quarter Quell, in which he witnessed and participated in terrible things in order to survive and then saw his loved ones killed for his strategy. He self-medicates with white liquor to combat severe PTSD. His chances of recovery are compromised because he’s forced to mentor the tributes every year. He’s a version of what Katniss might become, if the Hunger Games continues. Peeta comments on how similar they are, and it’s true. They both really struggle with their worldview. He manages to defuse the escalating violence at Gale’s whipping with words, but he participates in a plot to bring down the government that will entail a civil war.

The ray of light that penetrates that very dark cloud in his brain is the moment that Katniss volunteers for Prim. He sees, as do many people in Panem, the power of her sacrifice. And when that carries into her Games, with Rue and Peeta, he slowly begins to believe that with Katniss it might be possible to end the Hunger Games.

DL: I’m also curious about how you balanced the personal and political in drawing the relationship between Katniss and Gale. They have such a history together — and I think you powerfully show the conflict that arises when you love someone, but don’t love what they believe in. (I think that resonates particularly now, when so many families and relationships and friendships have been disrupted by politics.)

SC: Yes, I think it’s painful, especially because they feel so in tune in so many ways. Katniss’s and Gale’s differences of opinion are based in just war theory. Do we revolt? How do we conduct ourselves in the war? And the ethical and personal lines climax at the same moment — the double tap bombing that takes Prim’s life. But it’s rarely simple; there are a lot of gray areas. It’s complicated by Peeta often holding a conflicting view while being the rival for her heart, so the emotional pull and the ethical pull become so intertwined it’s impossible to separate them. What do you do when someone you love, someone you know to be a good person, has a view which completely opposes your own? You keep trying to understand what led to the difference and see if it can be bridged. Maybe, maybe not. I think many conflicts grow out of fear, and in an attempt to counter that fear, people reach for solutions that may be comforting in the short term, but only increase their vulnerability in the long run and cause a lot of destruction along the way.

DL: In drawing Gale’s and Peeta’s roles in the story, how conscious were you of the gender inversion from traditional narrative tropes? As you note above, both are important far beyond any romantic subplot, but I do think there’s something fascinating about the way they both reinscribe roles that would traditionally be that of the “girlfriend.” Gale in particular gets to be “the girl back home” from so many Westerns and adventure movies — but of course is so much more than that. And Peeta, while a very strong character in his own right, often has to take a backseat to Katniss and her strategy, both in and out of the arena. Did you think about them in terms of gender and tropes, or did that just come naturally as the characters did what they were going to do on the page?

SC: It came naturally because, while Gale and Peeta are very important characters, it’s Katniss’s story.

DL: For Peeta . . . why baking?

SC: Bread crops up a lot in The Hunger Games. It’s the main food source in the districts, as it was for many people historically. When Peeta throws a starving Katniss bread in the flashback, he’s keeping her alive long enough to work out a strategy for survival. It seemed in keeping with his character to be a baker, a life giver.

But there’s a dark side to bread, too. When Plutarch Heavensbee references it, he’s talking about Panem et Circenses, Bread and Circuses, where food and entertainment lull people into relinquishing their political power. Bread can contribute to life or death in the Hunger Games.

DL: Speaking of Plutarch — in a meta way, the two of you share a job (although when you do it, only fictional people die). When you were designing the arena for the first book, what influences came into play? Did you design the arena and then have the participants react to it, or did you design the arena with specific reactions and plot points in mind?

SC: Katniss has a lot going against her in the first arena — she’s inexperienced, smaller than a lot of her competitors, and hasn’t the training of the Careers — so the arena needed to be in her favor. The landscape closely resembles the woods around District 12, with similar flora and fauna. She can feed herself and recognize the nightlock as poisonous. Thematically, the Girl on Fire needed to encounter fire at some point, so I built that in. I didn’t want it too physically flashy, because the audience needs to focus on the human dynamic, the plight of the star-crossed lovers, the alliance with Rue, the twist that two tributes can survive from the same district. Also, the Gamemakers would want to leave room for a noticeable elevation in spectacle when the Games move to the Quarter Quell arena in Catching Fire with the more intricate clock design.

DL: So where does Plutarch fall into the just war spectrum? There are many layers to his involvement in what’s going on.

SC: Plutarch is the namesake of the biographer Plutarch, and he’s one of the few characters who has a sense of the arc of history. He’s never lived in a world without the Hunger Games; it was well established by the time he was born and then he rose through the ranks to become Head Gamemaker. At some point, he’s gone from accepting that the Games are necessary to deciding they’re unnecessary, and he sets about ending them. Plutarch has a personal agenda as well. He’s seen so many of his peers killed off, like Seneca Crane, that he wonders how long it will be before the mad king decides he’s a threat not an asset. It’s no way to live. And as a gamemaker among gamemakers, he likes the challenge of the revolution. But even after they succeed he questions how long the resulting peace will last. He has a fairly low opinion of human beings, but ultimately doesn’t rule out that they might be able to change.

DL: When it comes to larger world building, how much did you know about Panem before you started writing? If I had asked you, while you were writing the opening pages, “Suzanne, what’s the primary industry of District Five?” would you have known the answer, or did those details emerge to you when they emerged within the writing of the story?

SC: Before I started writing I knew there were thirteen districts — that’s a nod to the thirteen colonies — and that they’d each be known for a specific industry. I knew 12 would be coal and most of the others were set, but I had a few blanks that naturally filled in as the story evolved. When I was little we had that board game, Game of the States, where each state was identified by its exports. And even today we associate different locations in the country with a product, with seafood or wine or tech. Of course, it’s a very simplified take on Panem. No district exists entirely by its designated trade. But for purposes of the Hunger Games, it’s another way to divide and define the districts.

DL: How do you think being from District 12 defines Katniss, Peeta, and Gale? Could they have been from any other district, or is their residency in 12 formative for the parts of their personalities that drive the story?

SC: Very formative. District 12 is the joke district, small and poor, rarely producing a victor in the Hunger Games. As a result, the Capitol largely ignores it. The enforcement of the laws is lax, the relationship with the Peacekeepers less hostile. This allows the kids to grow up far less constrained than in other districts. Katniss and Gale become talented archers by slipping off in the woods to hunt. That possibility of training with a weapon is unthinkable in, say, District 11, with its oppressive military presence. Finnick’s trident and Johanna’s ax skills develop as part of their districts’ industries, but they would never be allowed access to those weapons outside of work. Also, Katniss, Peeta, and Gale view the Capitol in a different manner by virtue of knowing their Peacekeepers better. Darius, in the Hob, is considered a friend, and he proves himself to be so more than once. This makes the Capitol more approachable on a level, more possible to befriend, and more possible to defeat. More human.

DL: Let’s talk about the Capitol for a moment — particularly its most powerful resident. I know that every name you give a character is deliberate, so why President Snow?

SC: Snow because of its coldness and purity. That’s purity of thought, although most people would consider it pure evil. His methods are monstrous, but in his mind, he’s all that’s holding Panem together. His first name, Coriolanus, is a nod to the titular character in Shakespeare’s play who was based on material from Plutarch’s Lives. He was known for his anti-populist sentiments, and Snow is definitely not a man of the people.

DL: The bond between Katniss and Snow is one of the most interesting in the entire series. Because even when they are in opposition, there seems to be an understanding between them that few if any of the other characters in the trilogy share. What role do you feel Snow plays for Katniss — and how does this fit into your examination of war?

SC: On the surface, she’s the face of the rebels, he’s the face of the Capitol. Underneath, things are a lot more complicated. Snow’s quite old under all that plastic surgery. Without saying too much, he’s been waiting for Katniss for a long time. She’s the worthy opponent who will test the strength of his citadel, of his life’s work. He’s the embodiment of evil to her, with the power of life and death. They’re obsessed with each other to the point of being blinded to the larger picture. “I was watching you, Mockingjay. And you were watching me. I’m afraid we have both been played for fools.” By Coin, that is. And then their unholy alliance at the end brings her down.

DL: One of the things that both Snow and Katniss realize is the power of media and imagery on the population. Snow may appear heartless to some, but he is very attuned to the “hearts and minds” of his citizens . . . and he is also attuned to the danger of losing them to Katniss. What role do you see propaganda playing in the war they’re waging?

SC: Propaganda decides the outcome of the war. This is why Plutarch implements the airtime assault; he understands that whoever controls the airwaves controls the power. Like Snow, he’s been waiting for Katniss, because he needs a Spartacus to lead his campaign. There have been possible candidates, like Finnick, but no one else has captured the imagination of the country like she has.

DL: In terms of the revolution, appearance matters — and two of the characters who seem to understand this the most are Cinna and Caesar Flickerman, one in a principled way, one . . . not as principled. How did you draw these two characters into your themes?

SC: That’s exactly right. Cinna uses his artistic gifts to woo the crowd with spectacle and beauty. Even after his death, his Mockingjay costume designs are used in the revolution. Caesar, whose job is to maintain the myth of the glorious games, transitions into warfare with the prisoner of war interviews with Peeta. They are both helping to keep up appearances.

DL: As a writer, you studiously avoided the trope of harkening back to the “old” geography — i.e., there isn’t a character who says, “This was once a land known as . . . Delaware.” (And thank goodness for that.) Why did you decide to avoid pinning down Panem to our contemporary geography?

SC: The geography has changed because of natural and man-made disasters, so it’s not as simple as overlaying a current map on Panem. But more importantly, it’s not relevant to the story. Telling the reader the continent gives them the layout in general, but borders are very changeful. Look at how the map of North America has evolved in the past 300 years. It makes little difference to Katniss what we called Panem in the past.

DL: Let’s talk about the D word. When you sat down to write The Hunger Games, did you think of it as a dystopian novel?

SC: I thought of it as a war story. I love dystopia, but it will always be secondary to that. Setting the trilogy in a futuristic North America makes it familiar enough to relate to but just different enough to gain some perspective. When people ask me how far in the future it’s set, I say, “It depends on how optimistic you are.”

DL: What do you think it was about the world into which the book was published that made it viewed so prominently as a dystopia?

SC: In the same way most people would define The Underland Chronicles as a fantasy series, they would define The Hunger Games as a dystopian trilogy, and they’d be right. The elements of the genres are there in both cases. But they’re first and foremost war stories to me. The thing is, whether you came for the war, dystopia, action adventure, propaganda, coming of age, or romance, I’m happy you’re reading it. Everyone brings their own experiences to the book that will color how they interpret it. I imagine the number of people who immediately identify it as a just war theory story are in the minority, but most stories are more than one thing.

DL: What was the relationship between current events and the world you were drawing? I know that with many speculative writers, they see something in the news and find it filtering into their fictional world. Were you reacting to the world around you, or was your reaction more grounded in a more timeless and/or historical consideration of war?

SC: I would say the latter. Some authors — okay, you for instance — can digest events quickly and channel them into their writing, as you did so effectively with September 11 in Love Is the Higher Law. But I don’t process and integrate things rapidly, so history works better for me.

DL: There’s nothing I like more than talking to writers about writing — so I’d love to ask about your process (even though I’ve always found the word process to be far too orderly to describe how a writer’s mind works).

As I recall, when we at Scholastic first saw the proposal for The Hunger Games Trilogy, the summary of the first book was substantial, the summary for the second book was significantly shorter, and the summary of the third book was . . . remarkably brief. So, first question: Did you stick to that early outline?

SC: I had to go back and take a look. Yes, I stuck to it very closely, but as you point out, the third book summary is remarkably brief. I basically tell you there’s a war that the Capitol eventually loses. Just coming off The Underland Chronicles, which also ends with a war, I think I’d seen how much develops along the way and wanted that freedom for this series as well.

DL: Would you outline books two and three as you were writing book one? Or would you just take notes for later? Was this the same or different from what you did with The Underland Chronicles?

SC: Structure’s one of my favorite parts of writing. I always work a story out with Post-its, sometimes using different colors for different character arcs. I create a chapter grid, as well, and keep files for later books, so that whenever I have an idea that might be useful, I can make a note of it. I wrote scripts for many years before I tried books, so a lot of my writing habits developed through that experience.

DL: Would you deliberately plant things in book one to bloom in books two or three? Are there any seeds you planted in the first book that you ended up not growing?

SC: Oh, yes, I definitely planted things. For instance, Johanna Mason is mentioned in the third chapter of the first book although she won’t appear until Catching Fire. Plutarch is that unnamed gamemaker who falls into the punch bowl when she shoots the arrow. Peeta whispers “Always” in Catching Fire when Katniss is under the influence of sleep syrup but she doesn’t hear the word until after she’s been shot in Mockingjay. Sometimes you just don’t have time to let all the seeds grow, or you cut them out because they don’t really add to the story. Like those wild dogs that roam around District 12. One could potentially have been tamed, but Buttercup stole their thunder.

DL: Since much of your early experience as a writer was as a playwright, I’m curious: What did you learn as a playwright that helped you as a novelist?

SC: I studied theater for many years — first acting, then playwriting — and I have a particular love for classical theater. I formed my ideas about structure as a playwright, how crucial it is and how, when it’s done well, it’s really inseparable from character. It’s like a living thing to me. I also wrote for children’s television for seventeen years. I learned a lot writing for preschool. If a three-year-old doesn’t like something, they just get up and walk away from the set. I saw my own kids do that. How do you hold their attention? It’s hard and the internet has made it harder. So for the eight novels, I developed a three-act structure, with each act being composed of nine chapters, using elements from both play and screenplay structures — double layering it, so to speak.

DL: Where do you write? Are you a longhand writer or a laptop writer? Do you listen to music as you write, or go for the monastic, writerly silence?

SC: I write best at home in a recliner. I used to write longhand, but now it’s all laptop. Definitely not music; it demands to be listened to. I like quiet, but not silence.

DL: You talked earlier about researching survival training and edible plants for these books. What other research did you have to do? Are you a reading researcher, a hands-on researcher, or a mix of both? (I’m imagining an elaborate archery complex in your backyard, but I am guessing that’s not necessarily accurate.)

SC: You know, I’m just not very handy. I read a lot about how to build a bow from scratch, but I doubt I could ever make one. Being good with your hands is a gift. So I do a lot of book research. Sometimes I visit museums or historic sites for inspiration. I was trained in stage combat, particularly sword fighting in drama school; I have a nice collection of swords designed for that, but that was more helpful for The Underland Chronicles. The only time I got to do archery was in gym class in high school.

DL: While I wish I could say the editorial team (Kate Egan, Jennifer Rees, and myself ) were the first-ever readers of The Hunger Games, I know this isn’t true. When you’re writing a book, who reads it first?

SC: My husband, Cap, and my literary agent, Rosemary Stimola, have consistently been the books’ first readers. They both have excellent critique skills and give insightful notes. I like to keep the editorial team as much in the dark as possible, so that when they read the first draft it’s with completely fresh eyes.

DL: Looking back now at the editorial conversations we had about The Hunger Games — which were primarily with Kate, as Jen and I rode shotgun — can you recall any significant shifts or discussions?

SC: What I mostly recall is how relieved I was to know that I had such amazing people to work with on the book before it entered the world. I had eight novels come out in eight years with Scholastic, so that was fast for me and I needed feedback I could trust. You’re all so smart, intuitive, and communicative, and with the three of you, no stone went unturned. With The Hunger Games Trilogy, I really depended on your brains and hearts to catch what worked and what didn’t.

DL: And then there was the question of the title . . .

SC: Okay, this I remember clearly. The original title of the first book was The Tribute of District Twelve. You wanted to change it to The Hunger Games, which was my name for the series. I said, “Okay, but I’m not thinking of another name for the series!” To this day, more people ask me about “the Gregor series” than “The Underland Chronicles,” and I didn’t want a repeat of that because it’s confusing. But you were right, The Hunger Games was a much better name for the book. Catching Fire was originally called The Ripple Effect and I wanted to change that one, because it was too watery for a Girl on Fire, so we came up with Catching Fire. The third book I’d come up with a title so bad I can’t even remember it except it had the word ashes in it. We both hated it. One day, you said, “What if we just call it Mockingjay?” And that seemed perfect. The three parts of the book had been subtitled “The Mockingjay,” “The Assault,” and “The Assassin.” We changed the title to Mockingjay and the first part to “The Ashes” and got that lovely alliteration in the subtitles. Thank goodness you were there; you have far better taste in titles. I believe in the acknowledgments, I call you the Title Master.

DL: With The Hunger Games, the choice of Games is natural — but the choice of Hunger is much more odd and interesting. So I’ll ask: Why Hunger Games?

SC: Because food is a lethal weapon. Withholding food, that is. Just like it is in Boris when the Nazis starve out the people of Leningrad. It’s a weapon that targets everyone in a war, not just the soldiers in combat, but the civilians too. In the prologue of Henry V, the Chorus talks about Harry as Mars, the god of war. “And at his heels, Leash’d in like hounds, should famine, sword, and fire crouch for employment.” Famine, sword, and fire are his dogs of war, and famine leads the pack. With a rising global population and environmental issues, I think food could be a significant weapon in the future.

DL: The cover was another huge effort. We easily had over a hundred different covers comped up before we landed on the iconic one. There were some covers that pictured Katniss — something I can’t imagine doing now. And there were others that tried to picture scenes. Of course, the answer was in front of us the entire time — the Mockingjay symbol, which the art director Elizabeth Parisi deployed to such amazing effect. What do you think of the impact the cover and the symbol have had? What were your thoughts when you saw this cover?

SC: Oh, it’s a brilliant cover, which I should point out I had nothing to do with. I only saw a handful of the many you developed. The one that made it to print is absolutely fantastic; I loved it at first sight. It’s classy, powerful, and utterly unique to the story. It doesn’t limit the age of the audience and I think that really contributed to adults feeling comfortable reading it. And then, of course, you followed it up with the wonderful evolution of the mockingjay throughout the series. There’s something universal about the imagery, the captive bird gaining freedom, which I think is why so many of the foreign publishers chose to use it instead of designing their own. And it translated beautifully to the screen where it still holds as the central symbolic image for the franchise.

DL: Obviously, the four movies had an enormous impact on how widely the story spread across the globe. The whole movie process started with the producers coming on board. What made you know they were the right people to shepherd this story into another form?

SC: When I decided to sell the entertainment rights to the book, I had phone interviews with over a dozen producers. Nina Jacobson’s understanding of and passion for the piece along with her commitment to protecting it won me over. She’s so articulate, I knew she’d be an excellent person to usher it into the world. The team at Lionsgate’s enthusiasm and insight made a deep impression as well. I needed partners with the courage not to shy away from the difficult elements of the piece, ones who wouldn’t try to steer the story to an easier, more traditional ending. Prim can’t live. The victory can’t be joyous. The wounds have to leave lasting scars. It’s not an easy ending but it’s an intentional one.

DL: You cowrote the screenplay for the first Hunger Games movie. I know it’s an enormously tricky thing for an author to adapt their own work. How did you approach it? What was the hardest thing about translating a novel into a screenplay? What was the most rewarding?

SC: I wrote the initial treatments and first draft and then Billy Ray came on for several drafts and then our director, Gary Ross, developed it into his shooting script and we ultimately did a couple of passes together. I did the boil down of the book, which is a lot of cutting things while trying to retain the dramatic structure. I think the hardest thing for me, because I’m not a terribly visual person, was finding the way to translate many words into few images. Billy and Gary, both far more experienced screenwriters and gifted directors as well, really excelled at that. Throughout the franchise I had terrific screenwriters, and Francis Lawrence, who directed the last three films, is an incredible visual storyteller.

The most rewarding moment on the Hunger Games movie would have been the first time I saw it put together, still in rough form, and thinking it worked.

DL: One of the strange things for me about having a novel adapted is knowing that the actors involved will become, in many people’s minds, the faces and bodies of the characters who have heretofore lived as bodiless voices in my head. Which I suppose leads to a three-part question: Do you picture your characters as you’re writing them? If so, how close did Jennifer Lawrence come to the Katniss in your head? And now when you think about Katniss, do you see Jennifer or do you still see what you imagined before?

SC: I definitely do picture the characters when I’m writing them. The actress who looks exactly like my book Katniss doesn’t exist. Jennifer looked close enough and felt very right, which is more important. She gives an amazing performance. When I think of the books, I still think of my initial image of Katniss. When I think of the movies, I think of Jen. Those images aren’t at war any more than the books are with the films. Because they’re faithful adaptations, the story becomes the primary thing. Some people will never read a book, but they might see the same story in a movie. When it works well, the two entities support and enrich each other.

DL: All of the actors did such a fantastic job with your characters (truly). Are there any in particular that have stayed with you?

SC: A writer friend of mine once said, “Your cast — they’re like a basket of diamonds.” That’s how I think of them. I feel fortunate to have had such a talented team — directors, producers, screenwriters, performers, designers, editors, marketing, publicity, everybody — to make the journey with. And I’m so grateful for the readers and viewers who invested in The Hunger Games. Stories are made to be shared.

DL: We’re talking on the occasion of the tenth anniversary of The Hunger Games. Looking back at the past ten years, what have some of the highlights been?

SC: The response from the readers, especially the young audience for which it was written. Seeing beautiful and faithful adaptations reach the screen. Occasionally hearing it make its way into public discourse on politics or social issues.

DL: The Hunger Games Trilogy has been an international bestseller. Why do you think this series struck such an important chord throughout the world?

SC: Possibly because the themes are universal. War is a magnet for difficult issues. In The Hunger Games, you have vast inequality of wealth, destruction of the planet, political struggles, war as a media event, human rights abuses, propaganda, and a whole lot of other elements that affect human beings wherever they live. I think the story might tap into the anxiety a lot of people feel about the future right now.

DL: As we celebrate the past ten years and look forward to many decades to come for this trilogy, I’d love for us to end where we should — with the millions of readers who’ve embraced these books. What words would you like to leave them with?

SC: Thank you for joining Katniss on her journey. And may the odds be ever in your favor.

#thg #the hunger games #suzanne collins #katniss everdeen #catching fire #mockingjay #tbosas #thg book club #saw they took the pdf version down smh

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miraculousmultifan · 3 months

Text

stranger things (taylor's version) prompt list

this list contains every taylor swift song and it will be marked by which songs have already been claimed. i'm sorting these prompts by album in chronological order.

since taylor swift has A LOT of songs, the list will be below the cut :D

original post HERE.

taylor swift

tim mcgraw

picture to burn

teardrops on my guitar

a place in this world

cold as you

the outside

tied together with a smile

stay beautiful

should've said no

mary's song (oh my my my)

our song

i'm only me when i'm with you

invisible

a perfectly good heart

fearless

fifteen

love story

hey stephen

white horse

you belong with me

breathe

tell me why

you're not sorry

the way i loved you

forever & always

the best day

change

jump then fall

untouchable

come in with the rain

superstar

the other side of the door

today was a fairytale

you all over me

mr. perfectly fine

we were happy

that's when

don't you

bye bye baby

speak now

mine

sparks fly

back to december

speak now

dear john

mean

the story of us

never grow up

enchanted

better than revenge

innocent

haunted

last kiss

long live

ours

if this was a movie

superman

electric touch

when emma falls in love

i can see you

castles crumbling

foolish one

timeless

red

state of grace

red

treacherous

i knew you were trouble

all too well

i almost do

we are never ever getting back together

stay stay stay

the last time

holy ground

sad beautiful tragic

the lucky one

everything has changed

starlight

begin again

the moment i knew

come back... be here

girl at home

ronan

better man

nothing new

babe

message in a bottle

i bet you think about me

forever winter

run

the very first night

eyes open

safe & sound

1989

welcome to new york

blank space

style

out of the woods

all you had to do was stay

shake it off

i wish you would

bad blood

wildest dreams

how you get the girl

this love

i know places

clean

wonderland

you are in love

new romantics

"slut!"

say don't go

now that we don't talk

suburban legends

is it over now?

reputation

...ready for it?

end game

i did something bad

don't blame me

delicate

look what you made me do

so it goes...

gorgeous

getaway car

king of my heart

dancing with our hands tied

dress

this is why we can't have nice things

call it what you want

new year's day

lover

i forgot that you existed

cruel summer

lover

the man

the archer

i think he knows

miss americana & the heartbreak prince

paper rings

cornelia street

death by a thousand cuts

london boy

soon you'll get better

false god

you need to calm down

afterglow

ME!

it's nice to have a friend

daylight

folklore

the 1

cardigan

the last great american dynasty

exile

my tears ricochet

mirrorball

seven

august

this is me trying

illicit affairs

invisible string

mad woman

epiphany

betty

peace

hoax

the lakes

evermore

willow

champagne problems

gold rush

'tis the damn season

tolerate it

no body, no crime

happiness

dorothea

coney island

ivy

cowboy like me

long story short

marjorie

closure

evermore

right where you left me

it's time to go

midnights

lavender haze

maroon

anti-hero

snow on the beach

you're on your own kid

midnight rain

question...?

vigilante shit

bejeweled

labyrinth

karma

sweet nothing

mastermind

the great war

bigger than the whole sky

paris

high infidelity

glitch

would've, could've, should've

dear reader

hits different

you're losing me

#mira speaks #mira writes #stranger things (taylor's version)#taylor swift

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dragonfly0808 · 1 year

Note

which taylor song do you think describes each of them best?

Hope you like this cause I got way too passionate and it took me days to make this :)

Bloom-

Story wise: The Archer, epiphany and Would’ve, Could’ve, Should’ve

Aesthetic wise: Out of the Woods and Cruel Summer

Relationship wise: I Know Places and The Great War. (invisible string is about her and Stella)

Stella-

Story wise: Delicate, Anti-Hero and mirrorball

Aesthetic wise: Style, King of My Heart and I Think He Knows

Relationship wise: So It Goes…, Paper Rings and Paris. (Again, invisible string is about her and Bloom)

Flora-

Story wise: New Year’s Day, hoax (‘you know that it still hurts underneath my scars from where they pulled me apart’ is coming in S4) and evermore

Aesthetic wise: cardigan, august and ivy

Relationship wise: Begin Again, Dress and Labyrinth

Musa-

Story wise: my tears ricochet, Afterglow and champagne problems

Aesthetic wise: Wonderland, Dancing with Our Hands Tied and Midnight Rain

Relationship wise: Lover, False God and cowboy like me

Tecna-

Story wise: This Is Why We Can’t Have Nice Things, long story short and coney island

Aesthetic wise: End Game, the last great american dynasty and mad woman

Relationship wise: Lavender Haze, Snow on the Beach and Glitch

Aisha-

Story wise: Everything has Changed, You’re on Your Own Kid and Dear Reader (and Vigilante Shit but just a little bit)

Aesthetic wise: Haunted, New Romantics and I Know Places

Relationship wise: This Love, Call It What You Want and exile

Sky-

Story wise: I Forgot that you Existed, epiphany and The Great War

Aesthetic wise: I Know Places, You’re on Your Own Kid and Karma

Relationship wise: State of Grace, Dancing with Our Hands Tied and ‘tis the damn season

Brandon-

Story wise: Treacherous, Starlight and End Game

Aesthetic wise: 22, betty and dorothea

Relationship wise: Gorgeous, I Think he Knows and gold rush

Helia-

Story wise: The Archer, this is me trying, peace and evermore

Aesthetic wise: You Are in Love, Cruel Summer and my tears ricochet

Relationship wise: Enchanted, Labyrinth and Sweet Nothing

Riven-

Story wise: I Knew You Were Trouble, Clean and DAYLIGHT

Aesthetic wise: False God, seven and cowboy like me

Relationship wise: All Too Well/Getaway Car (fuck you Darcy), Miss Americana and the Heartbreak Prince, Afterglow (Rivusa anthem)

Timmy-

Story wise: New Romantics, mirrorball and closure

Aesthetic wise: Stay Stay Stay, Welcome to New York and Glitch

Relationship wise: How You Get the Girl, Cornelia Street and Lavender Haze

Nabu-

Story wise: Everything has Changed, New Year’s Day and Soon You’ll Get Better

Aesthetic wise: Wildest Dreams, Death by a Thousand Cuts and Delicate

Relationship wise: This Love, It’s Nice to Have a Friend and coney island

Long Live is just like… the theme song.

I might make a version for friendships… maybe…

44 notes · View notes

ceoofmorro · 1 year

Text

headcanons again !!

- • debut (taylor swift) — zane.

• fearless — zane, skylor.

• speak now — skylor, cole, jay, lloyd.

• red — kai (obviously).

• 1989 — skylor.

• reputation — harumi, morro, skylor.

• lover — jay, pixal, nya.

• folklore — lloyd, skylor, nya, morro, harumi.

• evermore — lloyd, morro, cole, skylor.

• midnights — cole, kai, skylor, lloyd.

- MY POINT IS THAT SKYLOR IS A TAYLOR SWIFT ADDICT.

- now for the songs.

— SKYLOR; picture to burn, TEARDROPS ON MY GUITAR, FIFTEEN, hey stephan, THE WAY I LOVED YOU, speak now, DEAR JOHN, mean, the story of us, BETTER THAN REVENGE, HAUNTED, if this was a movie, state of grace, ALL TO WELL,

the last time, SAD BEAUTIFUL TRAGIC, THE LUCKY ONE, girl at home, STYLE, WILDEST DREAMS, this love, CLEAN, wonderland, NEW ROMANTICS, YOU’RE IN LOVE, delicate, so it goes .., GORGEOUS, GETAWAY CAR, call it what you want, DON’T BALME ME, cruel summer, MISS AMERICANA & THE HEARTBREAK PRINCE,

cornelia street, DEATH BY A THOUSAND CUTS, SOON YOU’LL GET BETTER, FALSE GOD, afterglow, ITS NICE TO HAVE A FRIEND, THE 1, the last great american dynasty, EXILE, ILLICT AFFAIRS, AUGUST, mad woman, willow, ‘tis the damn season, NO BODY, NO CRIME , HAPPINESS, COWBOY LIKE ME, coney island, LONG STORY SHORT, closure,

RIGHT WHERE YOU LEFT ME, mr. perfectly fine, BETTER MAN, babe, i bet you think about me, THE VERY FIRST TIME, lavender haze, YOU’RE ON YOUR OWN, KID , BEJEWELED, vigilante shit, HITS DIFFERENT.

— LLOYD; TIM MCGRAW, should’ve said no, love story, YOU’RE NOT SORRY, NEVER GROW UP, ENCHANTED, mean, HAUNTED, last kiss, LONG LIVE, THE STORY OF US, if this was a movie, i knew you were trouble,

all too well, I ALMOST DO, WE ARE NEVER GETTING BACK TOGETHER, sad beautiful tragic, THE LAST TIME, THE LUCKY ONE, the moment i knew,

come back... be here, ALL YOU HAD TO DO WAS STAY, shake it off, BAD BLOOD, i wish you would, wildest dreams, CLEAN, wonderland, NEW ROMANTICS, endgame,

THIS IS WHY WE CAN’T HAVE NICE THINGS, ME!, it’s nice to have a friend, I FORGOT YOU EXISTED, THE ARCHER, you need to calm down, cornelia street, DAYLIGHT, CARDIGAN, seven, MIRRORBALL, peace, epiphany, MY TEARS RICOCHET,

betty, HOAX, willow, DOROTHEA, IVY, marjorie, evermore, CLOSURE, ITS TIME TO GO, forever winter, NOTHING NEW, i bet you think about me, anti-hero, YOU’RE ON YOUR OWN, KID , snow on the beach, BIGGER THAN THE WHOLE SKY, WOULD’VE, COULD’VE, SHOULD’VE.

— NYA; you belong with me, LOVE STORY, forever & always, YOU’RE NOT SORRY, ENCHANTED, SUPERMAN, red, state of grace, STAY STAY STAY, treacherous, EVERYTHING HAS CHANGED, WILDEST DREAMS, i know places,

YOU’RE IN LOVE, WONDERLAND, king of my heart, getaway car, DRESS, new year’s day, CALL IT WHAT YOU WANT, cruel summer, paper rings, I THINK HE KNOWS, THE MAN, false god, LOVER, cornelia street, DAYLIGHT,

seven, INVISIBLE STRING, MAD WOMAN, haox, WILLOW, gold rush, evermore, it’s time to go, LONG STORY SHORT, the very first night,

snow on the beach, SWEET NOTHING, LABYRINTH, karma, THE GREAT WAR, PARIS, glitch, ALL OF THE GIRLS YOU LOVED BEFORE.

35 notes · View notes

thiefguild · 2 months

Text

happy valentine's from the seven lords (and happy birthday Zan!) illustration from aikawa-sensei's twitter [x]

#sennen meikyuu no nana ouji #the seven princes of the thousand year labyrinth #happy valentines everyone!!#was super busy today so replies will prob come tomorrow!

4 notes · View notes

itsmyturntobeme · 10 months

Text

Surprise Song Tracker

I couldn’t find what I was looking for so here ya go!

Taylor Swift

Tim McGraw

Picture To Burn

Teardrops On My Guitar

A Place In This World

Cold As You

The Outside

Tied Together With A Smile

Stay Beautiful

Should've Said No

Mary's Song (Oh My My My)

Our Song

I'm Only Me When I'm With You

Invisible

A Perfectly Good Heart

Speak Now (Taylor’s Version)

Mine

Sparks Fly

Back To December

Speak Now

Dear John

Mean

The Story Of Us

Never Grow Up

Enchanted

Better Than Revenge

Innocent

Haunted

Last Kiss

Long Live

Ours

If This Was A Movie

Superman

Electric Touch

When Emma Falls in Love

I Can See You

Castles Crumbling

Foolish One

Timeless

1989 (Taylor's Version)

Welcome To New York

Blank Space

Style

Out Of The Woods

All You Had To Do Was Stay

Shake It Off

I Wish You Would

Bad Blood

Wildest Dreams

How You Get The Girl

This Love

I Know Places

Clean x2

Wonderland

You Are In Love

New Romantics

Now That We Don't Talk

Suburban Legends

Slut!

Say Don't Go

Is It Over Now?

Sweeter Than Fiction

Reputation

...Ready For It?

End Game

I Did Something Bad

Don't Blame Me

Delicate

Look What You Made Me Do

So It Goes...

Gorgeous

Getaway Car x2

King Of My Heart

Dancing With Our Hands Tied

Dress

This Is Why We Can't Have Nice Things

Call It What You Want

New Year's Day

Lover

I Forgot That You Existed

Cruel Summer

Lover

The Man

The Archer

I Think He Knows

Miss Americana & The Heartbreak Prince

Paper Rings

Cornelia Street

Death By A Thousand Cuts x2

London Boy

Soon You'll Get Better

False God

You Need To Calm Down

Afterglow

ME!

It's Nice To Have A Friend

Daylight

All of the Girls

folklore

the 1

cardigan

the last great american dynasty

exile

my tears ricochet

mirrorball

seven

august

this is me trying

illicit affairs

invisible string

mad woman

betty

epiphany

peace

hoax

the lakes

evermore

willow

champagne problems

gold rush

'tis the damn season

tolerate it

no body, no crime

happiness

dorothea

coney island

ivy

cowboy like me

long story short

marjorie

closure

evermore

right where you left me

it's time to go

Fearless (Taylor’s Version)

Fearless

Fifteen

Love Story

Hey Stephen

White Horse

You Belong With Me

Breathe

Tell Me Why

You're Not Sorry

The Way I Loved You

Forever & Always

The Best Day

Change

Jump Then Fall

Untouchable

Forever & Always (Piano Version)

Come In With The Rain

Superstar

The Other Side Of The Door

Today Was A Fairytale

You All Over Me

Mr. Perfectly Fine

We Were Happy

That's When

Don't You

Bye Bye Baby

Red (Taylor's Version)

State Of Grace

Red x2

Treacherous

I Knew You Were Trouble

All Too Well

I Almost Do

We Are Never Ever Getting Back Together

Stay Stay Stay

The Last Time

Holy Ground

Sad Beautiful Tragic

The Lucky One

Everything Has Changed

Starlight

Begin Again

The Moment I Knew

Come Back...Be Here

Girl At Home

Ronan

Better Man

Nothing New

Babe

Message In A Bottle

I Bet You Think About Me

Forever Winter

Run

The Very First Night

All Too Well (10 Minute Version)

Midnights

Lavender Haze

Maroon x2

Anti-Hero

Snow On The Beach

You're On Your Own, Kid x4

Midnight Rain

Question...?

Vigilante Shit

Bejeweled

Labyrinth

Karma

Sweet Nothing

Mastermind

Hits Different

The Great War

Bigger Than The Whole Sky

Paris

High Infidelity

Glitch

Would've, Could've, Should've

Dear Reader

You're Losing Me

OTHER

Beautiful Eyes

Beautiful Ghosts

Carolina

Crazier

Eyes Open

I Don’t Wanna Live Forever

I Heart ?

Only the Young

Safe & Sound

This is What You Came For

#taylor swift #eras tour

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bethiewhimsy · 2 years

Text

finished my reread of the seven princes of the thousand year labyrinth

popped over to my camera roll and there are so many random screenshots lolol

behold, exhibit a) zan being my favorite character

COMBUSTS S-SIR i’ll never ever get over his tattoo crying

they look so cozy MOVE OVER EWAN I WANNA BE HELD AND FEEL SAFE IN ZAN’S ARMS THIS IS SO UNFAIR

HIS TATTOO APPRECIATION MWAH oh yeah and his suicidal intent too lol

SIRRRRR SIRRRRRRRRR CRYING SOBBING SCREAMING BANGING MY FISTS ON THE TABLE

EWAN HUGS HOORAY they both look so happy omg leap is even enjoying the hug aww i love them

S C R E A M I N G

zan being pretty while enjoying the breeze + leap nestled in his hair

AND LASTLY AND MY FAVORITE:

confused but smiling zan,,, this is literally the cutest thing ever omg i love him so much

#please look at him he is the bestest lad #the seven princes of the thousand year labyrinth #tspottyl would be the abbreviation lllolollll #’bethie you never tag’ I AM WELL AWARE #but there is no content for this manga so i will provide it #MARRY ME ZAN I’LL TREAT YOU SO GOOD #yeah i have more screenshots but most of them were zan lolol #AND THIS IS ONLY FROM THE LAST HALF I DIDNT SCREENSHOOT ANYTHING FOR THE FIRST HALF #forgive me kai if you’re reading this it’s just slightly spoilery cries #yeah expect a few seven princes thousand year labyrinth posts im so sorry y’all #i am so so so tempted to make my pfp confused happy zan i AM THIS CLOSE

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writingarena04 · 17 days

Text

These are the Taylor Swift songs I’ll take short story fan fiction requests for! 😻

Taylor Swift 💚

Picture To Burn

Teardrops On My Guitar

Should’ve Said No

Mary’s Song

Our Song

I’m only Me When I’m With You

A Perfectly Good Heart

Fearless (Taylor’s Version) 💛

Fearless

Fifteen

Love Story

Hey Stephen

White Horse

You Belong With Me

The Way I Loved You

Forever And Always

Jump Then Fall

The Other Side Of The Door

Today Was A Fairytale

Mr. Perfectly Fine

That’s When

Don’t You

If This Was A Movie

Speak Now (Taylor’s Version) 💜

Mine

Sparks Fly

Back To December

Speak Now

The Story Of Us

Enchanted

Innocent

Haunted

Last Kiss

Long Live

Ours

Superman

Electric Touch

When Emma Falls In Love

I Can See You

Foolish One

Timeless

Red (Taylor’s Version) ♥️

State Of Grace

Red

Treacherous

I Knew You Were Trouble

All Too Well

I Almost Do

We Are Never Ever Getting Back Together

Stay Stay Stay

The Last Time

Holy Ground

Everything Has Changed

Begin Again

The Moment I Knew

Come Back…Be Here

Better Man

Babe

Message in a Bottle

I Bet You Think About Me

Run

The Very First Night

1989 (Taylor’s Version) 🩵

Blank Soace

Style

Out of the Woods

All You Had To Do Was Stay

I Wish You Would

Wildest Dreams

How You Get the Girl

This Love

I Know Places

Wonderland

You Are In Love

Slut!

Say Don’t Go

Now That We Don’t Talk

Suburban Legends

Is It Over Now?

Reputation 🖤

…Ready For It?

End Game

Don’t Blame Me

Delicate

So It Goes…

Gorgeous

Getaway Car

King Of My Heart

Dancing With Our Hands Tied

Dress

Call It What You Want

New Years Day

Lover 🩷

Cruel Summer

Lover

The Archer

I Think He Knows

Miss Americana And The Heartbreak Prince

Paper Rings

Cornelia Street

Death By A Thousand Cuts

London Boy

False God

Afterglow

Me!

Daylight

All of the Girls You Loved Before

Folklore 🩶

the 1

cardigan

the last great american dynasty

exile

my tears ricochet

mirrorball

seven

august

illicit affairs

invisible string

betty

peace

hoax

the lakes

Evermore 🤎

willow

champagne problems

tolerate it

no body, no crime

happiness

Dorothea

coney island

ivy

cowboy like me

long story short

closure

Midnights 💙

Lavender Haze

Maroon

Anti Hero

Snow On The Beach

Midnight Rain

Question..?

Bejeweled

Labyrinth

Mastermind

The Great War

Paris

High Infidelity

Glitch

Would’ve Could’ve Should’ve

Hits Different

The Tortured Poets Department 🤍

Coming soon…….

Feel free to request any of these! I can’t wait to start writing! The only thing I will NOT write is explicit smut! Thank you for your time! 😻

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enchantedalexia · 8 months

Text

Songs Taylor Hasn’t Performed on Tour *complete edition* *updated each night

Debut

tim mcgraw, picture to burn, teardrops on my guitar, a place in this world, cold as you, the outside, tied together with a smile, stay beautiful, should’ve said no, mary’s song oh my my, our song, i’m only me when i’m with you, invisible, a perfectly good heart

Fearless Taylor’s Version

fearless, fifteen, love story, hey stephen, white horse, you belong with me, breathe, tell me why, you’re not sorry, the way i loved you, forever and always, the best day, change, jump then fall, untouchable, come in with the rain, superstar, the other side of the door, today was a fairytale, you all over me, mr perfectly fine, we were happy, that’s when, don’t you, bye bye baby

Speak Now Taylor’s Version

mine, sparks fly, back to december, speak now, dear john, mean, the story of us, never grow up, enchanted, better than revenge, innocent, haunted, last kiss, long live, ours, superman, electric touch, when emma falls in love, i can see you, castles crumbling, foolish one, timeless

Red Taylor’s Version

state of grace, red, treacherous, i knew you were trouble, all too well, 22, i almost do, we are never ever getting back together, stay stay stay, the last time, holy ground, sad beautiful tragic, the lucky one, everything has changed, starlight, begin again, the moment i knew, come back.. be here, girl at home, ronan, better man, nothing new, babe, message in a bottle, i bet you think about me, forever winter, run, the very first night, all too well 10

1989 Taylor’s Version

welcome to new york, blank space, style, out of the woods, all you had to do was stay, shake it off, i wish you would, bad blood, wildest dreams, how you get the girl, this love, i know places, clean, wonderland, you are in love, new romantics “slut!”, say don’t go, now that we don’t talk, suburban legends, is it over now?, sweeter than fiction

reputation

ready for it?, end game, i did something bad, don’t blame me, delicate, look what you made me do, so it goes, gorgeous, getaway car, king of my heart, dancing with our hands tied, dress, this is why we can’t have nice things, call it what you want, new year’s day

Lover

i forgot that you existed, cruel summer, lover, the man, the archer, i think he knows, miss americana and the heartbreak prince, paper rings, cornelia street, death by a thousand cuts, london boy, soon you’ll get better, false god, you need to calm down, afterglow, me!, it’s nice to have a friend, daylight

folklore

the 1, cardigan, the last great american dynasty, exile, my tears ricochet, mirrorball, seven, august, this is me trying, illicit affairs, invisible string, mad woman, epiphany, betty, peace, hoax, the lakes

evermore

willow, champagne problems, gold rush, tis the damn season, tolerate it, no body no crime, happiness, dorothea, coney island , ivy, cowboy like me, long story short, majorie, closure, evermore, right where you left me, it’s time to go

Midnights

lavender haze, maroon, anti-hero, snow on the beach, you’re on your own kid, midnight rain, question…?, vigilante shit, bejeweled, labyrinth, karma, sweet nothing, mastermind, the great war, bigger than whole sky, paris, high infidelity, glitch, would’ve could’ve should’ve, dear reader, hits different, karma feat ice spice, you’re losing me

Singles

crazier, this is what you came for, i don’t wanna live forever, christmas tree farm, only the young, renegade, carolina, all of the girls you loved before, if this was a movie, safe and sound, eyes open

Bold- on the setlist

Italicized- on the setlist for a brief time

Crossed out- surprise song

Crossed out and purple- repeated surprise song

Crossed out and blue- twice repeated surprise song

Crossed out and pink- thrice repeated surprise song

song in mashup- red

#taylor swift #eras tour #eras tour surprise songs #surprise song o clock #debut taylor swift #fearless taylor's version #speak now taylor’s version #red taylor’s version #1989 taylor's version #reputation taylor swift #lover taylor swift #folklore taylor swift #evermore taylor swift #midnights taylor swift

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fear-less · 2 months

Text

Taylor Swift song master-list

info: i write fics inspired by Taylor’s songs, i’m planning on making most, if not all, of her songs into fics.

feel free to request for any song:3

——————————————————————————

taylor swift (debut)

tim mcgraw

picture to burn

teardrops on my guitar

a place in this world

cold as you

the outside

tied together with a smile

stay beautiful

should’ve said no

mary’s song - fred weasley x reader

our song

i’m only me when i’m with you

invisble

a perfectly good heart

——————————————————————————

fearless

fifteen

love story

hey stephen

white horse - sirius black x reader

you belong with me

breathe

tell me why

you’re not sorry

the way i loved you

forever & always

the best day

change

jump then fall - harry potter x reader

untouchable

come in with the rain

superstar

the other side of the door

today was a fairytale

you all over me

mr. perfectly fine

we were happy

that’s when

don’t you

bye bye baby

if this was a movie

——————————————————————————

speak now

mine

sparks fly

back to december

speak now

dear john

mean

the story of us

never grow up

enchanted

better than revenge

innocent

haunted

last kiss

long live

ours

superman

electric touch

when emma falls in love

i can see you

castles crumbling

foolish one

timeless

——————————————————————————

red

state of grace

red

treacherous

i knew you were trouble

all too well

i almost do

we are never ever getting back together

stay stay stay

the last time - james potter x reader x regulus black

holy ground

sad beautiful tragic

the lucky one

everything has changed

starlight

begin again

the moment i knew

come back…be here

girl at home

state of grace

better man

nothing new

babe

message in a bottle

i bet you think about me

forever winter

run

the very first night

safe and sound

all too well (10 min ver)

——————————————————————————

1989

welcome to new york

blank space

style

out of the woods

all you had to do was stay

shake it off

i wish you would

bad blood

wildest dreams

how you get the girl

this love

i know places

clean

wonderland

you are in love

new romantics

“slut!”

say don’t go

now that we don’t talk

suburban legends

is it over now?

——————————————————————————

reputation

…ready for it?

end game

i did something bad

don’t blame me

delicate

look what you made me do

so it goes…

gorgeous

getaway car

king of heart

dancing with our hands tied

dress

this is why we can’t have nice things

call it what you want

new year’s day

i don’t wanna live forever

——————————————————————————

lover

i forgot that you existed

cruel summer

lover

the man

the archer

i think he knows

miss americana & the heartbreak prince

paper rings

cornelia street

death by a thousand cuts

london boy

soon you’ll get better

false god - harry potter x reader

you need to calm down

afterglow

me!

it’s nice to have a friend

daylight

all of the girls you’ve loved before - james potter

——————————————————————————

folklore

the 1

cardigan

the last great american dynasty

exile

my tears ricochet

mirror ball

seven

august

this is me trying

illicit affairs

invisible string

mad women

epiphany

betty

peace

hoax

the lakes

——————————————————————————

evermore

willow

champagne problems

gold rush

‘tis the damn season

tolerate it

no body, no crime

happiness

dorthea

coney island

ivy

cowboy like me

long story short

closure

evermore

right where you left me

it’s time to go

——————————————————————————

midnights

lavender haze

maroon - fred weasley x reader

anti hero

snow on the beach

you’re on your own, kid

midnight rain

question…?

vigilante shit

bejeweled

labyrinth

karma

sweet nothing

mastermind

the great war

bigger than the whole sky

paris

high infidelity

glitch

would’ve, could’ve, should’ve

dear reader

hits different

you’re losing me

——————————————————————————

the tortured poets department

fortnight

the tortured poets department

my boy only breaks his favorite toys

down bad

so long, london

but daddy i love him

fresh out the slammer

flordia!!!

guilty as sin?

who’s afraid of little old me?

i can fix him (no really i can)

loml

i can do it with a broken heart

the smallest man who ever lived

the alchemy

clara bow

the black dog

imgonnagetyouback

the albatross

chloe or sam or sophia or marcus

how did it end?

so high school

i hate it here

thanK you aImee

i look in peoples windows

the prophecy

cassandra

peter

the bolter

robin

the manuscript

#fear-less

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