This blog is going to be mostly involving:

-Phantom of the Opera
-Les Miserables
-Sierra Boggess
-Game of Thrones
-The Hunger Games
-Nancy Drew
-Harry Potter

And pretty much other fun things that I enjoy =]



This advice is applicable in everything you do. Every great writer, actor, scientist, PERSON in general started out as nothing more than we are now: Students with a passion, a drive, a want to be something more. If they can do it, why can’t we?

(Source: deadpadfoot)

Don’t ever use the word ‘soul,’ if possible. Never quote dialogue you can summarize. Avoid describing crowd scenes but especially party scenes.


If you’re doing your job, the reader feels what you felt. You don’t have to tell the reader how to feel. No one likes to be told how to feel about something. And if you doubt that, just go ahead. Try and tell someone how to feel.


You want vivid writing. How do we get vivid writing? Verbs, first. Precise verbs. All of the action on the page, everything that happens, happens in the verbs. The passive voice needs gerunds to make anything happen. But too many gerunds together on the page makes for tinnitus: Running, sitting, speaking, laughing, inginginginging. No. Don’t do it. The verbs tell a reader whether something happened once or continually, what is in motion, what is at rest. Gerunds are lazy, you don’t have to make a decision and soon, everything is happening at the same time, pell-mell, chaos. Don’t do that. Also, bad verb choices mean adverbs. More often than not, you don’t need them. Did he run quickly or did he sprint? Did he walk slowly or did he stroll or saunter?

Alexander Chee reminisces about studying with Annie Dillard and shares her best writing advice. For the horse’s mouth, see Dillard herself on writing – a fine addition to our ongoing archive of notable wisdom on the craft. (via explore-blog)

i haven’t been shy about saying that my college years were dark. one of my biggest retrospective regrets is that I didn’t get to take a class with the famous Annie Dillard. she was there teaching writing - people whispered in reverent tones about her class.

huh who

I knew nothing back then

now, 17 years later, i sit down in a melbourne cafe to get back to writing my first book after a weekend of beautiful debauchery. I feel like a total fucking fraud. I can’t write and I don’t know what business I have pretending I can. so, like a good, disciplined writer, begin the days work by checking my tumblr.

i started following maria’s blog just a year (or so) ago - but sometimes her uncanny timing just rips my heart in two: is she stalking me and posting in-jokes?

alexander’s description of annie’s class is like a little salve on my seemingly un-healable college-regret wound. a stitch or two. I didn’t get a chair at the royal table, but he brought me some dessert in a doggie bag. delivered by maria.

the world today is therefore, as neil would say, a good place.

click on the link and read Alexander’s whole piece. it’s fucking brilliant.

thank you maria
thank you Alexander chee
thank you annie Dillard

today I will write with fervor, verbs and abandon

one strong flat white please thank you

(via amandapalmer)

The Gryffindor common room is hidden behind the portrait of the Fat Lady on the seventh floor of Hogwarts. A password has to be given in order for the painting to reveal the secret crawl space that leads into the room. Once inside you will feel the warmth from the fireplace and probably just want to make yourself at home by curling up on one of the many comfy chairs or large rugs scattered around the room. The walls are highly decorated with rich tapestries and paintings of witches and wizards as well as various magical beasts. Even their noticeboards are full, completely covered in notes and colourful posters. The only spaces in between are for the odd window which provide a lovely aerial view of the school grounds.

(Source: chrrycola)


Fait Accompli, an irreversible action that has happened before those affected by it knew of its existence. We all know how James and Lily’s story ends, in a way so tragic as to make it difficult to appreciate the romance and love that was their story. There is no happily ever after for James and Lily and so we leave them at a place where they are content, departing Hogwarts, ready to embark on their lives together, hopeful, despite the many challenges they face.

They will go on to give the world their son, Harry, and to die in order to protect him. In doing so, unknowingly they would change the course of wizard history. If James and Lily had not lived and loved, Harry never would have. He would never befriend a lonely Muggle girl, a forgotten son, an awkward, Herbology loving boy or a zany blonde girl. He never would have fallen in love with his best friends younger sister, and the world would never have seen James Sirius, Albus Severus and Lily Luna. He never would have restored peace to the wizarding world, all the while remaining ever humble and unassuming. Though it doesn’t seem that James and Lily’s story is one with a happy ending, their lives did not end with their deaths. For as long as their son, the product of their love, lives and gives his love to others, their love too will continue.

Priori Incantatem by fellytone [X]


I think that if voldemort really wanted to kill harry potter the night the spell didn’t work on him he could’ve just picked him up and thrown him out a window given the fact that he was a one year old infant

"We’ll be at Hogwarts in ten minutes," said Professor Lupin. "Are you alright, Harry?"

Harry didn’t ask how Professor Lupin knew his name.

-The first time Lupin addresses Harry by his name

Rereading the books, this interaction breaks my heart. Because the first time you read it, you assume Lupin knows who he is because he’s Harry, and that he recognises his scar or he’s seen Harry’s picture in the papers, maybe. But once you’ve read the books, you know that it’s because Lupin’s seen that face before. Harry looks only a little older than James did when Lupin first met him - he probably still has photographs of the Marauders at that age. Harry looks about the age that James did when he found out that Lupin was a werewolf - a terrible, dangerous, Dark creature - and told Lupin that he didn’t care. He looks exactly like James did when he was a teenager - except with Lily’s eyes.

Lupin recognises Harry because it’s the face of his best friends’ son. He probably held Harry as a baby, not long after he’d been born, with James and Lily smiling happily over him. He probably watched Harry toddle around their house in Godric’s Hollow when he was first learning to walk. 

And it reminds Lupin of everything he lost that night when James and Lily died, and Sirius went on the run. 

That’s how he knows Harry’s name.

(via soaringthroughskies)

Screw writing “strong” women. Write interesting women. Write well-rounded women. Write complicated women. Write a woman who kicks ass, write a woman who cowers in a corner. Write a woman who’s desperate for a husband. Write a woman who doesn’t need a man. Write women who cry, women who rant, women who are shy, women who don’t take no shit, women who need validation and women who don’t care what anybody thinks. THEY ARE ALL OKAY, and all those things could exist in THE SAME WOMAN. Women shouldn’t be valued because we are strong, or kick-ass, but because we are people. So don’t focus on writing characters who are stong. Write characters who are people. [x]

(Source: sanastark)