#series : harry potter ( hp ).

[incorrectquotesharrypotterv]

Y/n: I don’t really like people, but you’re okay, I guess.

Theo: I'm your boyfriend.

Y/n: Huh, so that's why.

Theo:

[hpseeker99]

The Daily Prophet: Three people have reportedly broken into the Gringotts. McGonagall, scoffing: What idiots *Front cover on the daily prophet, showing Harry, Ron, and Hermione riding a dragon out of the building* McGonagall: Wait, those are my idiots

[msmk11]

Pretty Boy

Harry Potter x fem!reader

WC: 563

CW: mentions of the Dursleys being neglectful; FLUFF

Summary: You love to make your boyfriend embarassed

Day 21 of mk's mad dash

Sadly, your boyfriend grew up without any affection from his family. So, it was no surprise that any affection he was shown was foreign to him. And, in some cases, maybe even a little embarrassing. You remembered the early days of your relationship- how even a peck on his cheek or a hug would make him blush furiously. With time, of course, he became more comfortable in your affection and even initiated it himself. Still, occasionally, you were able to bring back out his shy side, intentionally or not. 

In this instance, you were very intentional about trying to make your boyfriend blush. After he’d called you pretty girl a few weeks ago and left you a flustered mess, you were determined to get revenge. 

You decided to act completely unassuming, only throwing the term of endearment back in his face when he was most vulnerable and sweet in your arms. 

After a long Friday of classes, you brought Harry back to your dorm to cuddle and relax, simply enjoying one another’s presence. You snuck some food from the kitchens that now left you both feeling stuffed and satisfied. In your current position you were laying sprawled out, back on the bed and Harry nearly entirely on top of you.

In your post-dinner bliss, you two had gone mostly silent, reveling in each other’s company and touch. You absentmindedly ran your fingers through Harry’s wild black hair, pursuing a pointless mission of trying to untangle his curls. 

Your boyfriend’s face was buried in your neck, occasionally pressing gentle kisses to your skin when the urge presented itself. 

When your fingers made their way to the nape of his neck, Harry hummed softly against you.

“Feel good, Haz?”

“Yeah, baby. So good. Love when you play with my hair,” he sighed.

You pressed a kiss to the crown of his head, “Good. You deserve to be spoiled, you know.”

“Why? ‘Cos my parents are dead?” he mumbled.

To those who didn’t know your boyfriend, this type of comment would’ve left them floored. But for you, who was used to his dark humor, you only laughed disbelievingly, squeezing his arm chidingly, “Harry!”

“Well?”

You pressed another fond kiss against his skin, this time to his cheek, “You deserve to be spoiled because I love you and because you’re a sweet boy.”

Then more quietly you whispered, “my sweet boy.”

Harry raised his head from its home in your neck and pecked your lips lovingly, “love you, baby.”

You knew that now was the time to strike. 

“I love you too, my pretty boy.”

Your boyfriend’s face went from loving to embarrassed in seconds, his brown skin coloring red. 

He whined and buried his face back in your neck.

“What’s wrong my love,” you asked teasingly.

“You know what’s wrong,” he grumbled, “you did it on purpose.”

“Did what on purpose?”

Harry looked back up at you, the most adorable pout gracing his lips, “You called me…. pretty boy…. just to make me embarrassed.”

“I said what I meant,” you answered honestly, “though the teasing was a benefit.”

Your boyfriend continued to pout at you, “I hate you.”

“You love me,” you reminded him, “Otherwise you wouldn’t feel so embarrassed right now.”

“Fine,” he huffed, rolling his eyes, “Whatever you say, pretty girl.”

And damn him, because now you were the one left a blushing mess.

[sweetnnaivete]

remus was NOT gryffindor's casanova, he was a conventionally unattractive, sensitive, intelligent loser who everyone had an inexplicable crush on

[cimerran-714]

The fandom likes to talk about how Ron was willing to let himself get hit by the Cruciatus curse in order to prevent Hermione from getting tortured. What happens afterwards, though, is that Romione shippers argue about how Harry hadn't done anything like that. After all, he was just asking Ron to shut up.

This, they claim, is evidence that Ron cares more about Hermione than Harry does. Or that Harry doesn't care about her at all.

I do think what Ron did here is very admirable, and there's absolutely nothing to critique about that. What I hate is how it turns into Harry bashing to justify shipping Romione.

First, it's important to keep in mind that Harry's comparatively more level-headed than Ron is. He's not as emotional & he rarely displays them openly (and when he does, it's in Hermione's presence, but that's something for another post).

As Harry wanted to figure out a way from the problem, he was getting disturbed by Ron screaming, which was affected his. concentration. Unlike Ron, who was reacting emotionally, Harry wanted to think about whether they would be able to escape the place. That's why he was asking him to shut up.

And that's a good thing. When you are in trouble and someone you like is getting tortured, you attempt to try and escape instead of getting carried away by your emotions.

To try and spin Harry trying to save Hermione into "he doesn't care about her" is a flat-out lie.

Honestly, if I were Harry, I'd be pretty pissed as well. Just look at it:

"HERMIONE!” Ron bellowed, and he started to writhe and struggle against the ropes tying them together, so that Harry stag- gered. “HERMIONE!” “Be quiet!” Harry said. “Shut up. Ron, we need to work out a way—“ “HERMIONE! HERMIONE!” “We need a plan, stop yelling—we need to get these ropes off—"

Harry wants to get the bindings off and work out a way. He wants to save Hermione, instead of just screaming to the void.

If even more evidence were needed:

Hermione was screaming again: The sound went through Harry like physical pain. Barely conscious of the fierce prickling of his scar, he too started to run around the cellar, feeling the walls for he hardly knew what, knowing in his heart that it was useless.

Her screaming "went through Harry like physical pain". And, also notice how he was "barely conscious of the prickling on his scar".

He's only done that once before, and that was when he was thinking about Sirius.

His love for Hermione is so powerful that he was able to block Voldemort out of his mind.

[milleeeeeee]

pt.7

[isalisewrites]

A Deep Dive into JKR's Terrible, Amateur Writing - Part One

Welcome to my new series, where I will prove to you, dear reader, that J.K. Rowling, author of the Harry Potter series and resident Twitter TERF, is actually a very, very poor writer.

And when I say 'poor writer,' I'm talking about her prose, her sentence structure, and her scenes. I am not going to discuss anything about the HP world nor the plots of the books.

This is all about the nitty gritty in the craft of writing itself.

Disclaimer for all readers: I'm going to sound very confident in my posts. I'm going to be working under the assumption that I'm a better writer than JKR. Because I am. My apologies if this rubs you the wrong way. You're just witnessing two and half decades of experience with the intensity from a neurodivergent who is hyperfocused on her special interest. I didn't just learn how to create stories; I learned the craft of writing to a minutia of details.

After years of being beaten down by others, I will no longer tolerate that.

I will be using my writing to compare with hers to make some of my points. Some of what I say in these posts could be considered stylistic choices. However, in my humble opinion, most of this is a difference of skill, which can be learned. Yes, everything I'm going to teach and cover in this series can be learned. There's no 'talent' here. You can learn how to become a better writer right here and now. You only have to understand the craft of writing and sentence structure to better improve your prose and scenes.

I don't have fame and money.

I don't need them to teach you how to write better than JKR.

You're free to disagree with my stances about this and about everything I cover, of course. But if you're a writer, you might gain some insight from this post and I sincerely hope you are enriched by my efforts in this. I spent quite a few hours on this post. Helping others become a better writer than JKR is one of the greatest contributions I can give to society.

Thus, take what resonates and leave what doesn't.

I have stated before: JKR's writing is bloated in the wrong places, underwritten in others, and the prose is poor. These problems show up in all of her HP books.

Buckle up, my writing friends. Grab a snack. Hydrate. Let's begin.

Class is in session.

In this post, we're going to dissect a page from HP4.

There's so much wrong with this page and the three pages of this scene overall. So much to go over. Bullet points I'll cover from this page:

Disconnected Dialogue Lines

The Great Sin of Adverbs

Too much fucking dialogue!

Wrong focus altogether in this scene

Out of POV writing

First point. This is a huge ongoing issue I see in all of the HP books. There are a lot of disconnected dialogue lines, which become confusing over time. This could be an issue of the publisher, but it's still a problem. In the middle of this page, we have:

Sirius hesitated. "I've been hearing some very strange things," he said slowly.

Wait, wait, wait. Who said this? Listen, I know. I know it's Sirius. However, this is an improper placement on the page and can become confusing because Harry also goes by he/him pronouns and he's also in this scene. While the dialogue here suggests Sirius is talking, it could easily be misinterpreted if there were other characters or if he said something that Harry could've just as easily said.

To make this dialogue more clear for the reader, it should go as follows:

Sirius hesitated. "I've been hearing some very strange things," he said slowly.

Second point. JKR is an adverb sinner, a criminal. Jail. "Do not pass go; do not collect $200." Arrest her for these blatant crimes, please, for the love of god.

Look, I love adverbs. They're great. Don't fucking listen to anyone who outright demonizes them (including your huffy, uppity literature professors). Adverbs are the seasonings of writing. You season your food; you also need to season your writing when the case asks for it.

However...

Adverbs should always be used sparingly when connected to dialogue tags. The setting in this scene is: Harry is in the Gryffindor Common Room at night crouched in front of the fireplace where Sirius is in the fire in a floo call. I read through the whole scene, though I've only shown one page here.

Harry says a line of dialogue 'slowly' three times and Sirius says a line of dialogue 'slowly' two times.

The same adverb 'slowly' is used FIVE FUCKING TIMES IN THREE PAGES.

I want to scream, not gonna lie here. Set this adverb on fire!

What does this adverb do for us in this conversation? What is so important that we have to be told that five lines of dialogue were said slowly? What do they contribute? Spoiler alert: nothing. What are their facial expressions? Harry is 14. He's exhausted since it's well after 1am or so and he's burdened with the new knowledge of dragons for the first task. He's kneeling in front of a very hot fireplace. There's fire fumes and smoke, potentially. Is he fidgeting? Is he yawning? Rubbing his eyes? Bouncing a leg? Is he picking at the carpet or rug?

Harry is a tired, burdened child.

Show me this!

Now I'm not saying that you can't use adverbs in your dialogue tags. There's a huge difference between "he said softly" and "he whispered." It's about balancing the moment when an adverb says just enough versus an adverb replacing well needed scene enrichment. Let's compare this with a section from my HP time travel fanfiction, Terrible, But Great, Chapter Thirty.

Dumbledore nodded at Monty, pocketing his wand. “Mr. Potter.” “Lo, Professor,” said Monty, pout gone, but still a watchful light in his gaze. “Is there a problem?” asked Dumbledore in a mild tone. Ice slipped in between Tom’s ribs, piercing his flesh. Monty tilted his head. “No, sir.” Oh, but Tom knew better. He could see through that innocent facade. The man could’ve been a Slytherin for how much he was cataloguing every little detail, from Tom’s appearance, to the content of the selected books, and to the supplies of ink, quill, and parchment scattered on the surface of the table. Tom masked the raw, whirling feelings in his chest with a well practiced blank, emotionless expression. He willed himself to hide.  “Nothing at all, sir,” said Tom lightly. “Young Mr. Potter was regaling me about his friendship with Miss Malfoy.” Monty glanced at Tom, brows furrowing. Those blue eyes were piercing, filled with suspicion. “Was he now?” Dumbledore said; though his tone was still without direct accusation, Tom could hear the hint of it. “Then, may I ask, why a silencing charm was necessary for such a benign conversation?” Tom wet his lips. His throat was dry. “I thought it wise to avoid disturbing others in the library.” “I am awfully loud,” said Monty with a sage nod. “Ah. A noble intent. However, it is not an appropriate use of magic in the library,” said Dumbledore, his gaze firm as it bore down on Tom. “Ten points from Slytherin. I think it’d be wise to take your studies to your common room, Mr. Riddle.” “Yes, sir,” whispered Tom.

I only used "said Tom lightly" once in this section to show Tom attempting to be unaffected by Dumbledore's interference. I did not dialogue dump information in giant chunks. I did utilized actions tags versus adverbs, like Monty tilting his head or Tom licking his lips. I suspect that if JKR had written this scene, she'd have used lines like:

"No, sir," said Monty curiously.

or

"I thought it wise to avoid disturbing others in the library," said Tom nervously.

The adverbs that JKR's uses add nothing to her scenes. They're just thrown into them without a thought. Did she even reread this scene after she wrote it? I cringe in agony if I use an uncommon word more than three or four times in an entire 4,000 to 7,000 word chapter, let alone the same adverb five times in three pages. Good grief.

There are two other adverbs used in this page, hastily and bitterly. Hastily does nothing for the scene and is connected to another issue, but I'll go over that in the end. However, bitterly is one of the adverbs I'd keep. It gives us a glimpse into Harry's feelings here. We need more of this, but we got nothing.

Thus, the overuse of adverbs in JKR's dialogue detracts and steals so much from the scene.

Third point: there's too much dialogue and no description whatsoever. Again, the adverbs are a pathetic attempt to give us something, but they're thrown in there without a damn forethought. We're missing the crackle of the fire and the smell of it. We're missing Sirius' facial expressions. We're missing Harry moving around on the floor, fidgeting, yawning, rubbing his eyes, feeling the heat of the fire, bouncing his legs, picking at the rug, something, anything, etc.

The dialogue is bloated with a terribly boring conversation. It's just endless dialogue with nothing else. No, it's awful. Welcome to the fourth bullet point. This scene focuses on the entirely wrong point. This scene is 100% a plot device and it's terribly done as well. It's three pages about Karkaroff being a Death Eater--oh no he might be trying to kill you, Harry, aaaaaa--and something about Bertha Jorkins being near Voldemort's last location. Meh. Who cares. Somebody has been trying to kill Harry in every book thus far. This isn't a new development, sweetie.

We been done know this, okay? Come on.

This is a stilted, unnatural conversation between Harry and Sirius. It's not realistic. It's not normal. Telling Harry about the Karkaroff's past is boring and does nothing for him. One line, maybe two, for Sirius to say, "Hey, keep an eye out for Karkaroff. He's an old Death Eater." Done. End of Karkaroff information. And cut Bertha Jorkins out altogether. I'm sorry, but why the hell are we talking about a dead woman to a 14 year old kid whose biggest problem at the moment is dealing with a jealous friend, school ostracization, and a giant fire breathing lizard???

These points are important to the plot, but they're not important to Harry.

The plot isn't important. No, it's not.

Harry is the POV character.

Harry is the single most important aspect in every scene and should be treated as such.

The plot should weave around Harry, slowly revealing itself to both Harry and the reader. Harry should not be the weaver of the plot. He should not be used in plot devices.

Do you know what part of the conversation was summarized in the prose between Harry and Sirius in a single paragraph versus the three pages about Karkaroff?

Harry talking about how no one believes him about not putting his name in the Goblet of Fire. About the school hating him. About Ron, about his betrayal and his jealousy. About Rita Skeeter. About seeing the dragons as the first task. These are all important to Harry. These all are causing pain to Harry's heart right now. Somebody give this child a hug, please.

We missed out on exploring Harry's feelings here. The author skips the MOST important part of the conversation, what could've been a deeply emotional, either positive or negative, conversation between Harry and Sirius.

Oh, this scene could've been so good. It could've been amazing. There are so many paths that could've been explored here, too.

We could've had a callous Sirius, who doesn't notice Harry's state of being, and just goes on and on about nothing of importance where Harry clams up. Or we've could've had a comforting Sirius, who attempts to give Harry some actual advice about his friendship with Ron. We could've seen Harry opening up in his body language, connecting with this parental figure in his life. We could've heard a story of Sirius' time as a kid at school with Harry's father and the marauders.

We were robbed of an important moment between Harry and Sirius.

Instead, the author puts the focus on the red herring 'foreshadowing' of Karkaroff. What a waste. She's trying to put suspicion on him, rather than Moody/Barty Crouch Jr., the real Death Eater in disguise. Again, who cares. It's not about them. It's about Harry and how his experiences are affecting him. It's about how he reacts to them.

This scene is a waste of time and paper. It's empty of emotion and movement/flow. It's just there for a set up and it's glaringly obvious during a second read of the book.

When I say, "The writing is bloated and underwritten at the same time." this is what I mean. We're focusing on the wrong things here.

Fifth point. JKR breaks the POV character with the following line:

"--and reading between the lines of that Skeeter woman's article last month, Moody was attacked the night before he started at Hogwarts. Yes, I know she says it was another false alarm," Sirius said hastily, seeing Harry about to speak, "but...

Harry is the POV character. Sirius 'seeing Harry about to speak' should NOT be occurring in the prose whatsoever. To fix this with the bare minimum of effort for this poorly written dialogue line:

"--and reading between the lines of that Skeeter woman's article last month, Moody was attacked the night before he started at Hogwarts--" Harry opened his mouth to interject, but Sirius said hastily, "Yes, I know she says it was another false alarm, but..."

I wouldn't write these lines like this, by the way. I just don't want to rewrite this. It's a poor paragraph overall, but this is an example of returning the POV back to Harry. Sirius isn't 'seeing' anything anymore. Harry is doing an action and Sirius reacts to his action.

Breaking POV is a rule that can be occasionally broken, but should be done so with intent and purpose. I'm pretty confident when I say that JKR probably had no idea that this was a mistake on her part in the prose.

All right then.

We have come to an end of Part One in this series. We have dissected a single page and a single scene in JKR's Harry Potter and the Goblet of Fire. The page in question is 333 should you wish to look it up and study the scene yourself.

More to follow because I have lots of pages to go over. This will definitely be series, ah dear.

And so, please do the world the greatest of favors and write better than J.K. Rowling. I promise, it's not that hard once you see the differences.

Until next time.

Isa

[bookwormangie]

Harry and Snape’s Clashing Communication Styles

It's interesting to think that Harry and Snape don’t have longer conversations in the series, but when they do, their communication styles are so different that they often clash.

Harry’s way of communicating is practical and straightforward. He tends to break down complex ideas into simpler terms that he can easily understand. This makes sense, given his upbringing in a non-magical world and his tendency to rely more on gut instinct than deep theoretical knowledge. For Harry, things are usually black and white, and his directness shows his desire to cut through the confusion and get straight to the point.

Snape, on the other hand, has a more complex and layered way of speaking. His language is precise and often sarcastic, which reflects not just his intelligence but also his disdain for what he sees as Harry’s lack of subtlety. Snape’s use of imagery and metaphor, especially when he describes consepts, gives his speech a poetic, almost philosophical quality. He takes pleasure in showing off his superior knowledge and uses this as a way to belittle Harry.

We see this clash clearly in OOTP during Harry’s first Occlumency lesson:

Snape looked back at him for a moment and then said contemptuously, “Surely even you could have worked that out by now, Potter? The Dark Lord is highly skilled at Legilimency —” “What’s that? Sir?” “It is the ability to extract feelings and memories from another person’s mind —” “He can read minds?” said Harry quickly, his worst fears confirmed. “You have no subtlety, Potter,” said Snape, his dark eyes glittering. “You do not understand fine distinctions. It is one of the shortcomings that makes you such a lamentable potion-maker.” Snape paused for a moment, apparently to savor the pleasure of insulting Harry, before continuing, “Only Muggles talk of ‘mind reading.’ The mind is not a book, to be opened at will and examined at leisure. Thoughts are not etched on the inside of skulls, to be perused by any invader. The mind is a complex and many-layered thing, Potter . . . or at least, most minds are. . . .” He smirked. Whatever Snape said, Legilimency sounded like mind reading to Harry and he did not like the sound of it at all.

For Harry, when Snape mentions Legilimency, it immediately sounds like “mind reading,” which is a reasonable but overly simple way to understand such a complex concept. His quick jump to this conclusion shows his need to make sense of something that feels threatening, but it also reveals his limited grasp of the deeper nuances.

Snape, however, can’t resist mocking Harry’s lack of subtlety. His response is laced with condescension as he insists on the complexity of the mind and dismisses the idea of “mind reading” as something only muggles would think of. Snape’s explanation is detailed and philosophical, contrasting sharply with Harry’s desire for a straightforward answer.

Another great example of their different communication styles comes in HBP when Snape puts Harry on the spot, asking him to explain the difference between an inferius and a ghost:

“Let us ask Potter how we would tell the difference between an Inferius and a ghost.” The whole class looked around at Harry, who hastily tried to recall what Dumbledore had told him the night that they had gone to visit Slughorn. “Er — well — ghosts are transparent —” he said. “Oh, very good,” interrupted Snape, his lip curling. “Yes, it is easy to see that nearly six years of magical education have not been wasted on you, Potter. ‘Ghosts are transparent.’ ” Harry took a deep breath and continued calmly, though his insides were boiling, “Yeah, ghosts are transparent, but Inferi are dead bodies, aren’t they? So they’d be solid —” “A five-year-old could have told us as much,” sneered Snape. “The Inferius is a corpse that has been reanimated by a Dark wizard’s spells. It is not alive, it is merely used like a puppet to do the wizard’s bidding. A ghost, as I trust that you are all aware by now, is the imprint of a departed soul left upon the earth . . . and of course, as Potter so wisely tells us, transparent.” “Well, what Harry said is the most useful if we’re trying to tell them apart!” said Ron. “When we come face-to-face with one down a dark alley, we’re going to be having a shufti to see if it’s solid, aren’t we, we’re not going to be asking, ‘Excuse me, are you the imprint of a departed soul?’

Once again, Harry demonstrates his practical and straightforward approach. He gives a simple, clear distinction based on what would be most useful in a real-life situation—whether the entity is solid or transparent. This shows how Harry tends to focus on what’s immediately relevant and actionable, and Ron’s defense of Harry’s answer highlights this practicality. Ron even points out that in a real-world scenario, Harry’s answer is actually the most helpful, contrasting it with Snape’s more academic approach.

Snape, though, dismisses Harry’s answer as too simplistic and mocks him for stating what he sees as the obvious. Snape’s communication is more about the theoretical and precise understanding of magical concepts. He emphasizes the deeper, more complex nature of an Inferius, which, while academically accurate, is less practical in the context that Harry is thinking of. Snape’s disdain shows that he values this deeper, nuanced understanding more than the direct, practical knowledge that Harry offers.

These moments really bring out the deeper divide between Harry and Snape. Harry approaches things with instinct and a straightforward mindset, while Snape is all about nuance, precision, and seeing the layers in everything. Because they see the world so differently, they struggle to communicate, which only adds to the distrust and misunderstanding between them—a tension that echoes throughout the entire series.

[moonlightdancer26]

Sometimes I forget how young Snape was in Philospher’s Stone, I always see people saying “17/20 years ago” when referring to Lily’s death or SWM happening. So I always immediately think of him as being in his mid thirties all throughout the books, while forgetting that he was actually 31 in the first book. Lily’s death had just occurred 10 years ago, and then he was forced to teach her child who looked exactly like the man he hated most but also had her eyes. Damn.

[incorrectquotesharrypotterv]

Y/n, texting Hermione: Hermione! Help I'm being kidnapped.

Hermione: Where are you?

Y/n: I'm with some strange person. In a car. Help.

Hermione: I'll call George.

George, answering his phone: Hello?

Hermione: Where's Y/n? They texted me that they were being kidnapped.

George: Y/n? What you mean, they're right next to me-

George:

George: I'll call you back. *hangs up*

George: MY NEW HAIRCUT ISN'T THAT BAD!

Y/n: WHO ARE YOU?!

[hpseeker99]

Hermione: Why are you following me? Ron: Because we’re dating now? Hermione: Okay… what about Harry? Ron: We’re a package deal Harry: Buy one idiot, get one free

[fandomlit]

academic affair, prologue (remus lupin x reader)

series summary being a professor at hogwarts always brought you an interesting day, but your past starts to reappear in odd ways: in the son of one of your former best friends, a dog you can't stop seeing, and an old crush getting the cursed job the school. it all looks to mean one thing--it's time to stop running from the things you tried hard not to think about.

warning none

a/n if you all are interested in seeing this continue as a series please please let me know!! im loving this concept :)

gif cred belongs to @rxmuz

harry, hermione, and ron were gathered in the empty classroom you were to begin a lesson in after your snack break--a habit they had grown into shortly after meeting you their first year. your feet were propped up on your desk as you ate your salad, watching harry pace and complain about his third-year classes already, despite only being a few days into the term.

"i think they're all riveting so far," hermione spoke bossily, shaking her head at the complaining boys.

"how would you know? you weren't even in potions today!" ron accused. you winked at hermione as her face flushed slightly. you knew her little time turner secret--it was a fate few students endured, but you had been one of the professors to recommend her for the honor when dumbledore inquired.

"i was there! we learned about the benefits of frog liver in healing potions!"

ron and harry looked to each other. "I actually don't know if that's true or not."

you let out a laugh before speaking, "it's just the second week, harry. it'll get better! patience is key."

harry huffed as he flopped into one of the chairs in the front row. "why can't i just take your class already?"

you shrugged. "i'll let you in." his head piped up. "if you can read my leaves from my old cup of tea for me." he sunk back down into the chair as you tutted, "have to know divination to take theory, harry. sad, but true."

he sulked for another moment before admitting, "i do like the new defense against the dark arts professor. lupin seems good."

the other two agreed and began to chat about it as you froze mid-chew.

when you heard remus lupin was taking the dark arts position, a rush of old, buried emotions came flooding back to you. your stupid schoolgirl crush seemed to take up space in your heart once again before you had even seen him again, and you cursed yourself for letting it happen. but remus was one of your best friends in your hogwarts days, and you had always wondered what could have been if you had ever had the guts to pursue something with him..

" .. professor? y/n!"

you snapped back into the moment, swallowing your bite as you gave your attention back to the trio. "sorry. got lost in thought. what's up?"

"did you know lupin when you went to hogwarts?"

your heart jumped unwillingly. "oh--yeah, of course. i don't want to air out his business for him if he hasn't said.. but he was very close to your parents, as well, harry." harry blinked in surprise. "but again, not my place to say without knowing if he wants all that to be said." the trio nodded.

"has he always had those scars?" ron asked, waving to his face. 

you smiled a little. "yes. not those, specifically, but he always had a knack for getting new wounds back in our hogwarts days. never without a scratch."

"sounds like-"

"professor l/n?" all four of you looked to the open door of the classroom to see professor lupin himself standing with one hand on the frame, as if he had been summoned when you began to talk about him. your heart skipped while he swept his gaze to the students, lifting a hand in greeting, "hello harry, miss granger, mister weasley." they greeted him in return before he looked back to you as you swung your feet to the ground a little clumsily. you prayed your face wasn't as hot as it felt. "have you all seen a toad hopping about? had a student say he lost sight of him after charms this morning."

"oh, neville?" you laughed softly and the other three chuckled. lupin nodded. "no, we haven't seen trevor. we'll be sure to inform the owner if he's spotted, however."

lupin gave you a nod. "thanks." he paused for a moment in the doorway, looking like he was going to say something more, before patting the doorframe and moving away. after a moment you cleared your throat, swinging your feet back onto your desk and shuffling your fork through your salad.

"so, what were we saying before all that? something about divination?"

"you totally fancy professor lupin!" hermione scoffed. it was the first time you had seen her gaze properly off of her homework all afternoon. and she looked delighted about it, too.

now you knew your face was bright red. "you're loony, hermione. i'm thirty-five years old--i don't 'fancy' people."

"oh, what do you call it then?" harry grinned. "a crush? taking a liking too? or do we skip straight to pining at your age?" he dodged when your shoe came flying at him, but he was laughing the whole way. ron was chortling just as loudly.

"you three have lost it!" you declared, standing unevenly from your desk. "remus and i were good friends back in the day--nothing more, nothing less."

"remus, is it?" harry gawked, making the other two laugh and tease again while you stripped off your other shoe. the warning bell rang just then.

"you've been saved, you have!" you called as they scrambled to get their things together. "teasing a professor like a student--rotten children!"

"and yet, you keep inviting us around!"

[sweetnnaivete]

evan rosier was the weird kid who burnt bugs with a magnifying glass, and barty crouch jr was the weird kid who explained the science behind it

[send-up-my-heart-to-you]

ppl who think that harry potter can defeat percy bc of the cruciatus curse / avada kedavra seem to forget that harry literally would never use those curses. he literally faced down the man who killed his parents, and he fucking DISARMED HIM. he saw his godfather killed in front of him, he tried cruciatus, but even then he was too merciful to properly torture her.

percy fucking beheaded crusty when he was 12 years old. when he poisoned the literal goddess of poison, the only thing that stopped him was that annabeth got scared of him. and even then he didn’t rlly seem to regret it or dwell on it.

percy is not only more powerful than harry, but he’s also more merciless. no questions asked.

[cimerran-714]

Hermione:

*Literally sets Snape on fire*.

*Steals from him*.

*Knocks him unconscious*

Snape: *Makes one rude comment about her teeth*

The fandom: Wow, he's such a child abusing psychopath & shouldn't be allowed to teach!

Mm... I can sense some hypocrisy here.

[milleeeeeee]

pt? 4? i think