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writerwhofears · 1 year
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Things I love about the “villain turns good” trope:
Ex-villains graduating to “weird uncle” status.
Ex-villains and hero(es) turning the events of previous battles into bizarre inside jokes.
Ex-villains embracing the power of friendship and love.
Ex-villains putting up walls and keeping to themselves until the heroes teach them what it means to trust someone.
Ex-villains messing up and being forgiven because redemption is a process, not an endgame.
Ex-villains being shy and uncertain about their new place as a hero.
Bonus: Ex-villains hiding behind their hero friends during moments of shyness and uncertainty.
Ex-villains being tempted back to the dark side only to realize how much their newfound friendships mean to them.
Ex-villains pretending to return to the dark side, and using their villain cred to be a mole/saboteur on the heroes’ behalf.
Ex-villains taking the same skills and character traits that made them effective villains and using them for good.
Ex-villains defeating current villains by being better at those skills and traits than they are.
Ex-villains being rejected by almost everyone except the very few willing to give them the benefit of the doubt.
Ex-villains being ferociously protective of those few.
Ex-villains convincing old allies and friends to follow them to the light side.
Ex-villains helping their hero friends through guilt and self-doubt by reminding them that your mistakes don’t make you and it’s never too late to turn things around.
Ex-villains receiving unconditional trust and affection from someone small and innocent, and having no idea what they’re supposed to do with that.
Ex-villains reuniting with heroic loved ones that they don’t have to fight against anymore.
Ex-villains looking around at their new friends and their new home and having to sit down and ride out a sudden wave of powerful emotion because they can’t remember the last time they felt content.
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writerwhofears · 1 year
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Characters who collapse beside a wounded character, cradling them to their chest, holding tight
Characters who just freaking lose it when someone is found captured, dead, dying, or gone, and the black rage that comes over them when they find out who’s responsible
A character gently pushing or nudging another character behind them for protection
Characters who threaten in a whisper (PLEASE)
A character going deathly still when they ask, “Who hurt you?” or “Who did this?”
A character angling themselves in front of another character when things get tense or uncomfortable, stepping between them and harms way
Characters who shelter another character with their body, pressing them down, asking if they’re okay while they’re the one bleeding, taking shots
Characters who catch the arm or waist of another character who starts to stumble, unwilling to let go (maybe urging them to rest, sleep, lean on them, or lay down)
Characters who knock someone out of the way just before a fatal blow hits (maybe taking the blow or dying instead)
A character who keeps an eye on another character’s whereabouts when entering dangerous territory, purposely staying near them “just in case”
Characters who notice another character’s absence and are knocked sideways by a stab of fear, panic, suspicion, or foreboding, and the worried/uneasy facial expressions they’re unable or unwilling to hide (bonus if they go after them and find them hurt/unconscious/drugged/ill/running away/bewitched).
Characters overcome with fear, dismay, and affection when they see another character asleep beside them— shockingly vulnerable and oh so completely defenseless— and how because of that, they become all the more protective, determined to keep them safe (as if moved emotionally by the other character’s trust in them)
When a character wakes and feels their teammate pressed against them- that sudden urge to nestle deeper into the safety and shelter of their hold, to erase the gap between them, to soak in their warmth- and the subtle shift in feelings from friendly affection to something far more passionate.
When a character checks in on another character sleeping to make sure they’re okay, struck dumb by how innocent they look (bonus if they reach out to brush the hairs on their head out of the way, or stay up watching over them, or decide to lay down beside them, resisting the urge to touch or pull them close)
Characters who try to act normal, fighting to hide the agony of their injuries or the lightheadedness resulting from blood loss or a fever, only being found out when their lips let loose a low moan or cry (maybe a facial grimace or groan)— the urgency, rage, and fear that overcomes the character who hears (maybe forcing them to lay down while gently trying to examine them/ pressing down here and there/ going back and forth between cursing at them and trying to shush them)
A character who stops at nothing to rescue another, even if it means teaming up with the enemy, or even becoming one
Sick and feverish characters feeling a touch on their brow, seeing another character’s deepened frown, the crease of worry between their eyebrows (how they gently urge them to sleep and rest— telling them not to worry because they were here)
Caregivers becoming attentive to every drop and swallow the sick character takes, encouraging them gently, never letting on how worried they are
Sick characters who stir when they feel a small pressure against their wrist, then a voice saying, “Shhh, go back to sleep,” while laying a cool hand on their brow. They lean into the touch. They might have heard a laugh. A sigh- a breath.
Characters who clutch at their stomach, overcome with nausea- heaving- then vomiting- feeling careful hands hold back their hair, rub slow, soothing motions down their back, making small hushing sounds (bonus if the sick character collapses against the other one suddenly, feeling arms wrap around them, then the brush of fingers against the forehead, feeling)
Half conscious characters dimly aware of someone calling their name. The sensation of rising and then the tug of someone guiding limp arms around that someone’s neck
Just, being carried, being held (legs give out, weak, illness, injury, fatigue, fear), or being able to carry someone, to hold someone safe in your arms, to cradle them close
Characters forced to hold down another character during a painful medical or first aid treatment while enduring the screams and cries of their teammate, knowing that if they don’t force them through it, they’ll die— knowing they’ll be hated
Likewise, characters required to be held down while desperately trying to get away, thrashing, hating the other character, not understanding, heart begging them to stop, “Please, no more, no more!” And the other character is just like, “Soon, I promise; It’ll be over soon,” or “Shhh, hold on; we’re almost done,” or “Take my hand- look at me. I’ve got you.”
A character insisting they stay near another character when they bathe, fearing that they’ll fall unconscious/asleep and drown (bonus if they actually do fall unconscious, and the other character — too upset to blush— rushes in (maybe to scoop them out, wrap a towel around them, carry them to bed, or to shake them awake, holding their face)
When a character sees cuts and bruises on another character (possible abuse or self harm) and go still, maybe asking, “How long?” “How can I help?” or saying, “Please, no more,” or “Talk to me,” or even, “I’m not leaving you until I know you’re safe” or “Whatever you’re hiding, please tell me.” For abuse: “Who did this to you?” “How did I not know?” “This ends now,” “You’re staying with me,” “I’m not leaving your side,” “Please, don’t face them alone” “Its not safe-”
Characters who silence another character’s screams, cries, or moans of pain with a kiss (maybe unexpected, or because that other character couldn’t stand to listen anymore, or because they want to distract them from the pain by giving them pleasure).
Characters waking up in someone else’s bed, either dressed in someone elses’s clothes or completely without them, bandaged and sore
A character who can’t stop blushing after walking in on someone changing or bathing
Characters who bite their lips and blush when they catch another character glancing at their lips (and the ache of want that throbs in that other character on seeing them blush)
Characters wrists held above the head while someone straddles them, fingers roaming, eyes waiting, lips devouring— savoring their moans, watching their gasps
Characters pushed up against the wall with a knee between their legs
The first brush of lips, either tender, teasing, gentle, or painful, passionate, and full of uncontrolled desire
Tongues that brush another’s lips, either requesting entry or demanding it
The gentle nip of teeth on a character’s skin and the resulting shiver of bumps along a character’s exposed flesh, the rush of white hot bliss tingling up and down their whole being, fingers digging into flesh
The first touch- the gasp that escapes, the unintelligible sounds, the hiss of delight, the plea for more, the sharp inhale (sometimes the vain struggle to hide while the other character, delighted, takes control)
That moment when a character, in ecstasy, moans or screams, and the other character places their mouth over theirs to quiet them, devouring every vibration of noise as if it were the most delectable fruit on earth; as if it were the first drops of rain in a century of drought
Characters who stay up all night after a heated argument with another character, only to grab and catch them before they stumble over and hit the ground in the morning
Characters who forgo sleep due to worry and fear for another’s safety, taking a break only when absolutely necessary
A character’s screams being hushed or soothed away by a heartless, cruel character (maybe because they have a soft spot for that one character or feel guilty for causing their screams in the first place)
When a character subconsciously pulls themself closer to another character seen shivering or shuddering, taking off their own jacket and putting it on the character despite their protest, grabs a blanket for them without being asked, pays closer attention
Characters just being noticed by another character— the subtle changes, like: when their voice sounds tight trying to conceal pain, or how their hand suddenly shakes, or how little they’ve eaten/rested, or how angry they suddenly get/how argumentative they’ve become
Characters who toss and turn in sleep, unable to wake up until another character grabs them, calling their name, pulling them close, rubbing their back, their arms, their hair- reassuring them over and over that they’re safe/home/free
Wrist grabs. PERIOD. Maybe to stop a character from walking away, to yank them out of harms way, to pull them behind them, or to convey the type emotions only touch can translate, or even as a warning to stay close
Enemies who rescue each other all the time, saying how annoying they are when really they’re just annoyed with themselves for how fearful/emotional they became (or how that other character makes them)
Characters who couldn’t care less until someone important to them is threatened- then all bets are off, hell is breaking lose, forgiveness will have no say, and may god have mercy on that poor character’s soul
When a female character starts their period and are crippled with the pain of a tearing/ripping uterus (because honestly, some have it worse than others) and another character tries to make the pain lessen by rubbing their back, lulling them to sleep, using powers to take pain away
Characters rolling sleeves up to their forearms (maybe when things get serious/sticky/desperate). Also characters with long hair who only tie it back when things get rough, tricky, or bleak. I can see a character’s mouth drop open when they catch sight of another character- maybe the most unexpected one- pull back their hair before taking a stance to fight or defend (bonus if that character before was considered nonessential)
Funny characters who become dead serious when necessary (like when someone threatens them or someone they care for)- and oh, if they aren’t the most badass character after all, like holy crap
Characters who feel like a nobody finding out they’re a somebody
The most insignificant character turning out to be the most significant
The weakest character turning out to be the strongest
The evilest character turning out to be the most heroic
Villainous characters coming to the hero’s defense (and vice versa)
I especially love it when the enemy is the one who heals a hurt character, maybe performing an emergency procedure like inflating a collapsed lung, holding pressure on a bleeding wound, cutting open someone for an emergent operation, bracing another character’s neck, injecting someone with a drug to knock them out or ease their pain (maybe even saying something like, “Tell anyone about this, and I’ll undo all the work I’ve done.”
Cowards becoming brave
Brave characters acknowledging their fears
Hard characters becoming soft
Soft characters becoming hard, especially to fight and defend, rising to the occasion
Side characters who turn out to be main characters
Nonessential characters turning out to be the most essential
Pompous, prideful characters humbled by circumstance, forced to acknowledge their limitations
Worthless characters discovering their worth
Also, words like “Trust me,” “Stay close,” “Dont go far,” “Squeeze/Take/Hold my hand,” “Stay behind me,” “Get down!” “Sleep now,” “Just rest,” “Stop fighting me,” “It’s for your own good,” “Dont make me do this,” “Try. See what happens,” “Are you alright?” “Shh, I’m here,” “Close your eyes,” “you’re going to be okay,” “I’m here,” “I won’t let go,” “Look at me,” “Back off,” “take one more step-” “You wouldn’t dare,” “I’ll never forgive you,” “please, don’t look,” “Let me take a look,” “Deep breath- good,” “Hold still,” “Don’t move,” “I’ve got you,” “You’re safe,” “Lean on me,” “Rest on my shoulder,” “Lay down,”
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writerwhofears · 1 year
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Writer’s setting 💀🖤🔥
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writerwhofears · 1 year
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For all my whimsical sci-fi/fantasy novelist ✨🔥
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“Mathematician Henry Segerman demonstrating how a linear 3rd dimensional plane is only a projection of the curved 4th dimensional space time.”
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writerwhofears · 1 year
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For my whimsical story tellers ✨🎥✨
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oh to have a silly little house like this...
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writerwhofears · 2 years
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Finding Your Talent
Very often as a writer, I will find myself reading a tale by another author and saying, “My, I wish that I had her talent.” I’m sure that most of you feel the same at times.
I know that I’d be a much better writer if I only had Orson Scott Card’s gift for eliciting powerful emotions, Stephen King’s talent for creating contemporary voices, Shannon Hale’s ability to develop gorgeous metaphors, Lucius Shepard’s lyricism, Kevin J. Anderson’s special touch when dealing with mythic characters, Brandon Sanderson’s work ethic and ability to surprise, Dan Wells’ gift for coming up with great ideas, and so on.
You get the picture. Sometimes we feel down in the dumps because we don’t have someone else’s talent, and time after time I’ve seen young authors give up writing without ever recognizing their own unique strengths.
Even the best of us get down in the dumps. Most authors will, at one time or another, get publicly hammered for their incompetence. I recall when Stephen King first began to break out. Many a jealous author and critic talked about his lack of skills, his bland prose, and wondered why in the world people were buying his books—in droves. It wasn’t until a reviewer recognized that he was a “modern Shakespeare” with his ability to capture the voice of the common man that he began to get any respect at all.
I heard similar talk about J.K. Rowling from people who didn’t recognize that she was a genius at audience analysis. John Grisham was hammered for his lack of style by idiots who didn’t see how brilliantly he can plot. Stephenie Meyer has a fantastic gift for arousing emotions that resonate with her targeted audience.
Do you see a pattern? With most popular writers, the author develops a wide fan base, entrancing millions of readers, long before a critic ever sings his or her praise.
There are so many ways for a writer to be great as a stylist and storyteller that many a new author never fully appreciates or even recognizes his or her own talents.
Don’t give up on yourself. Discover what your own gifts are and learn to use them.
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writerwhofears · 2 years
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WEBSITES FOR WRITERS {masterpost}
E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;
Hiveword - Helps to research any topic to write about (has other resources, too);
BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;
Charlotte Dillon - Research links;
Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;
One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;
One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!
Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;
National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;
Penguin Random House - Has some writing contests and great opportunities;
Crime Reads - Get inspired before writing a crime scene;
The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;
Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;
QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);
Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;
Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;
I hope this is helpful for you!
(Also, check my blog if you want to!)
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writerwhofears · 2 years
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I do not want my comedy special to make people laugh
I want my comedy special to make consciousness hurt
I do not want my fantasy media to be realistic. I want my fantasy media to be convincing.
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writerwhofears · 2 years
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Predictions of dark forces being unleashed by an evil vixen hung over social media in Japan on Monday after a famous volcanic rock said to kill anyone who comes into contact with it was found split in two.
According to the mythology surrounding the Sessho-seki, or killing stone, the object contains the transformed corpse of Tamamo-no-Mae, a beautiful woman … Legend has it that her true identity was an evil nine-tailed fox whose spirit is embedded in the hunk of lava, located in an area of Tochigi.
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writerwhofears · 2 years
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Writing an immersive third person limited point of view.
What is third person? In third person pov the narrator refers to all character by third-person pronouns, such as he, she, or they. In contrast, first person pov uses the first person pronouns, I and me, for the narrator.
What is third person limited? Third person limited is the alternate to third person omniscient. In third person limited, you have one single pov character narrating the story at any given moment (though you can have as many of these limited pov characters as you want throughout the course of the story), whereas in third person omniscient, there is an omniscient (all knowing) narrator.
Why choose a limited third person pov? 
- The reader forms a stronger, more personal connection to your pov character(s). - You can easily build suspense because the reader never knows for certain what the non-pov characters are thinking, feeling, or planning. - You can more easily write an unreliable narrator because your narrator tells things only as they see them, and not as they truly are.
At the end of the day, there is nothing you can’t do with limited if you’re creative and willing to think outside the box. 
So you want to write a good limited third person pov then?
Keep in mind that most of these tips also translate to first person pov. In many ways, third person limited is very similar to first person, because you have a single narrator at any given time, and the reader is confined to that narrator’s interpretation of the world.
Here are some key things you need to remember while writing limited third person: 
Keep reading
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writerwhofears · 2 years
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Instagram credit: mariefeoe
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writerwhofears · 2 years
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When people cannot accept the truth, they ban it.
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writerwhofears · 2 years
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Trope: when A is taken in by B, after being found hurt and unconscious
I open my eyes to the feel of something cold pressed against my chest. All I see is a blur of color, and all I can feel is pain. Pain in my side, my legs, the muscles of my arms, the sharp throb in my head.
Consciousness, it seems, is cruel—and I want to go back to sleep. But I can’t. Something feels wrong.
Then slowly, as I blink a few times, I see the metallic object take form into the metal shape of a stethoscope. They don’t press too hard against my chest.
Confused, I watch as the hand moves from one side of my chest to the other. They try to go lower, and I move my hand to stop them.
“You’re awake.” The voice comes from somewhere above me. Faintly, I recognize it. My pulse picks up.
I try and roll off the surface underneath me when their hand catches my shoulder, firmly rolling me back. At the touch, a soft whimper slipped through my lips— I bite down hard to silence the sound, but I know it’s already too late.
“Don’t move,” they say. Their words sound clipped—almost irritated. But the tone is gentle.
How… how could they find me? I shouldn’t be here. I had no memory of how I arrived.
good guy, or the bad guy?
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writerwhofears · 2 years
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Seasons in New Zealand: Mount Taranaki
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writerwhofears · 2 years
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Writing be Like…
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writerwhofears · 2 years
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okay so im struggling to word this, but like, eye (descriptions?) but not like color or looks, i mean like when books says "her eyes fluttered closed", "half lidded" and stuff like that. i have no idea how to use these, and no idea how they work
Illustrating Emotion with Eyes/Eye Movements
Eyes and eye movements, along with other aspects of facial expression and body language, can play a big role in indicating the emotion a character might be feeling in response to something they're thinking or experiencing.
Eye movements can be divided into three types:
- eyeballs - eyelids - eyebrows
Here are some things eye movements can indicate:
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Eyes that brighten – acceptance
Eye contact – acceptance, admiration/adoration (prolonged eye contact), agitation (avoiding eye contact)
Eyes that twinkle – mischief, adoration
Eyes that harden – anger
Eyes that glaze over – boredom
Eyes that dart back and forth – anxiety, fear, disbelief
Eye that gleams – confidence
Eyes that glance furtively – desire, romantic interest
Eyes filled with tears – intense sadness or happiness
Eyes that look down/away – discomfort, guilt, uncertainty
Eyes that wander – boredom, indifference
Eye contact that’s broken – insecurity, discomfort, guilt
Eye contact that’s unsteady – vulnerable
Eyes that gaze longingly – loneliness, wistfulness, nostalgia
Eyes that seem to flicker or spark – rage
Eyes that are “doe-like” – innocence
Eyes that appear dull – stunned, exhaustion
Eyes that roll - annoyance, disbelief
Eyes that stare into the middle distance - deep in thought
Eyes that glance upward to right or left - thought
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Eyelids that widen – amazement/surprise/shock
Eyelids that narrow – suspicion, scorn
Eyelids that blink rapidly – appalled, disbelief
Eyelids that don’t blink – courage, determination
Eyelids that flutter – pleasure, coy
Eyelids that close – defeat, frustration,
Eyelids that clamp shut – anger
Eyelids that are half-lidded – pleasure, lust, desire, exhaustion
Eyelids that squeeze shut – panic, intense fear
Eyelids that close gently, lightly – relief
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Eyebrows that rise together – amazement/surprise/shock
Eyebrows that wiggle – teasing, suggestive
Eyebrows that draw/knit together – concern
Eyebrows that crumple/furrow – confusion
Eyebrows that rise in question – hopefulness
Eyebrow that rises alone – skepticism, satisfaction
Eyebrows that lower – wariness
Eyebrows that wrinkle or crease – worry
...
I hope that helps!
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writerwhofears · 2 years
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“Close your eyes,” the woman commanded me. She was wearing a robe of deep purple, heavy and warm, yet the mocha skin above her wrists puckered with goosebumps as she lifted her arms. Reaching out, she touched my forehead with gentle fingers.
In a blink, I watched as her lavender eyes shuddered into something two dimensional; something impossible to read.
I did as I was told and tried to shake off the beating wings of nervous energy fluttering inside my stomach.
It was the day of Aknowledging, after all; the day all children of age seven learn of their innate powers given to them from the lands of which they were born.
So I shouldn’t feel afraid. All children my age feel this way.
But I wasn’t born of the land. I wasn’t born of a clan either. No one knows where I came from, and this orphanage is all I know and remember.
“Now,” she said, interrupting me, “I want you to imagine yourself somewhere safe; somewhere that makes you feel secure.”
I nodded and without a seconds thought, placed myself amongst the wheat fields that glowed silver under moonlight, tucked away in winter’s frosty hibernation. I jumped and twirled in the darkness and imaged myself plopping down atop a woven wool blanket so I could stare up into the heavens.
The night sky always made me feel this way. Serene. At home.
The air chilled and my ears popped—like the pressure in the room increased. Or maybe decreased. I wanted to open my eyes, but the woman’s hand slid over them, keeping them shut.
“Hold out your hand.”
I lifted my hand as if to receive a gift. Now what was about to happen? Would the Wind clan accept me if a gust flew from my fist? Or the Polar clan whose hands froze water into ice at just the mere thought?
There was a pulling sensation in the palm of my hand and suddenly, the air around me shifted and started towards me. Wait, not towards me--towards my hand. I felt the wind gathering there, pulling and sucking like a vacuum.
“Oh my god,” the woman hissed. “What power is—”
I was about to open my eyes when the light from underneath my eyelids abruptly snuffed out, followed by a scream that shifted into an ear splitting silence.
I curled my fingers into a fist and held my hand protectevely over my chest. The pulling sensation stopped.
At first, I couldnt tell my eyes were open; there was no longer any light in the room. And where once stood a woman wearing a robe of deep purple… stood nothing at all.
Everyone has a superpower based on the topography of where they were born (IE: Mountains, deserts, etc.). You are the first person to be born in space.
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