harry and ginny having triplet boys and naming them james, sirius, and remus respectively
and mcgonagall’s reaction when they’re at hogwarts like
no not again
From the top, left to right: Pleione Carrow and Flora Greengrass, on their wedding day, March 16th, 1950. Portrait of Flora Greengrass, 1975. Portrait of Pleione Carrow, 1979. Pleione Carrow and Flora Greengrass at a soiree, 1943.
No one was surprised when Flora Greengrass and Pleione Carrow chose to have their weddings on the same day, in the same venue.
Even in school at Hogwarts, the two could always be found with their heads together, sharing in some secret the rest of the world was not privy to. Upon graduating in 1945, they both took up jobs in the Department of International Magical Cooperation, working as secretaries to the department head and his deputy.
The rumours first started in the summer of 1948, when Flora Greengrass scandalized the wizarding world by turning down an eminently respectable offer of marriage from Titus Fawley. Titus Fawley was considered an excellent catch by all the matchmaking pureblood mamas, and Flora’s turning him down shocked even the most liberal-minded of them. Very soon the ballrooms of the wizarding elite were afire with whispers of an illicit relationship between Flora and Pleione and formidable dowagers tut-tutted openly at the Carrows and Greengrasses for having let their daughters run so wild. The source of the rumour is still disputed, but most accept privately that it was Titus Fawley, jealous of the closeness of the two, who first spread the rumour that Pleione and Flora were not merely friends, but were lovers.
Naturally, their parents could not be seen to be doing nothing about this breach of morals and respectability and began pressuring their daughters to find husbands for themselves.
Two years passed before the two were approached by Henry Mulciber, a fellow colleague at the Ministry of Magic (quite respectably betrothed to Dahlia Parkinson), who offered them a means out of their predicament. He had two friends, he said - naming no names - who were similarly situated and would understand the delicacies of their circumstances - unlike most other pureblood men their age. They would, he was sure, be able to reach an agreement that would be mutually satisfactory to both parties and keep their parents’ noses out of their private sex lives.
Intrigued, the girls agreed to meet with his two friends and were pleasantly surprised (and impressed) when both the gentlemen in question amicably discussed the terms of their marriage and did not impose upon them the behavioural strictures most pureblood men of the time would have imposed upon them.
Of course, both Pleione and Flora knew of the rumours about those two. Practically the entire wizarding world knew about those two.
In the spring of 1950, Pleione Carrow and Flora Greengrass married Antinous Lestrange and Charles Nott, under the strict proviso that both sides be allowed to continue their non-marital relationships with each other.
Thus it was that the Lestrange boys came to have not one father and one mother, but two fathers and two mothers. Perhaps it was the best for them, for their natural parents were aloof in nature while Charles and Flora were doting and fond adoptive parents, showering the boys with affection where their mother coolly reprimanded them for being rowdy and their father coldly demanded to know if this was how Lestranges behaved.
Yet all the affection in the world did not keep them from following in their fathers’ footsteps and becoming Death Eaters.
Imagine Teddy getting a howler from Tonks and he starts to freak out but when he opens it, it’s like
TEDDY GUESS WHAT, THE WEIRD SISTERS ARE COMING TO TOWN. PACK YOUR THINGS, SON, I ALREADY TALKED TO MCGONAGALL AND SHE SAID IT’S COOL. MERLIN’S PANTS I’M SO EXCITED. DON’T TELL ANYONE OKAY, MAYBE YOU SHOULDN’T TELL DAD EITHER. OH FUCK, IS THIS A HOWLER? I FUCKED UP, I FUCKED UP.
And Remus at the teachers table covering his face to hide his laughter.
Ooooh, I LOVE this question!
Lots of people keep journals with systematic diary entries, but I understand that it doesn’t work for everyone.
Here are some cool/interesting/fun/motivational/productive things you can do that don’t necessarily include keeping a diary:
- Turn a Moleskine (or other notebook) into a planner/organizer/PDA/productivity system
- 52 lists
- 30 Days of Lists
- Answer "50 Questions That Will Free Your Mind"
- Start a gratitude journal
- Create a "life handbook"
- Keep morning pages
- Start a scrapbook
- Use journal prompts to answer questions when you feel like it
- Participate in the 7-week Life Cleanse (new link! should work now!)
- Keep these 9 lists updated — REALLY useful things to keep track of!
- Take notes as you learn something new
- Use a notebook to keep track of goal-setting and productivity: 60 Ways to Improve Your Life in 100 Days
- Keep a recipe book
- Keep a reading journal/movie journal/music journal/fashion journal
- Start a quote book
- Make a travel journal — use it to plan your trip/vacation, then glue in transportation ticket stubs, itineraries, maps, photographs, dinner receipts at fancy restaurants, and write about your adventures
- Doodle in it
- Write poetry
- Cut out and glue pretty pictures
- Create a bucket list journal and record each item as you complete it
- Keep a dream journal
- Journal your goals with the prompts, motivation, and advice I offer in my own self-published ebook
Does that give you enough ideas to start with? :)
(Made rebloggable by request.)
IT’S BEEN OVER A YEAR SINCE I SAW THIS POST I’M SO HAPPY
Body Language Cheat Sheet for Writers
As described by Selnick’s article:
This is something I have always encouraged people to consider when writing. If you can afford it, and you have one in your area - TAKE A BODY LANGUAGE CLASS. It will open your eyes to a whole new world of subtleties you never knew existed. SO worth it as a “Real Life” skill and for all those times when you’re writing and you need your character to react nonverbally.
There is also, in addition to these others, the writer resource book: The Emotion Thesaurus by Angela Ackerman and Becca Puglisi
This is how you show, not tell what your character is feeling.
Are you tackling a writing project that isn’t a brand-spanking new novel during Camp NaNoWriMo? Good news! We’re compiling lists of everything we know about nonfiction, editing, and scripts. We revisit editing while it’s fresh in our minds from the “Now What?” Months…
Children. They were teaching children.
Rowena, Godric, Salazar; they tended to forget that. They saw young minds, young acolytes - eyes that would look up to them. Not innocence. Not childish wonder.
Toughen them, said Godric.
Make them smart, said Rowena.
And ambitious, above all, said Salazar.
But war and the real world; that was not where children belonged. Aye, they would belong one day, but it was not their part to turn them cruel, make them hard, make their eyes dart sideways always looking for ways to twist the world to further their own ends. They were to protect them. Shield them from the worst so that some good, some kindness would find its way into an ever darkening world. To give them weapons and teach them how to use them, but never tell them that those weapons were their only hope.
She’d seen in all the battles she’d rode out to just how dark the world could be. Was it not their duty to bring light into this world? To fight darkness with light; not with more darkness - with divisiveness and strife and hatred?
I will take them all, she said.
I will protect the ones you will not. I will save them. I will give them a home. They will be the last rays of all that is good in this world. I will teach them kindness. I will teach them loyalty. I will teach them selflessness.
I will teach them how to be the backbone, the heart of this world. I will teach them how to stand steadfast, when all hope is lost.
I will teach them how to be human, to be more than just one single word.
No, she knew, theirs would not be an easy path, or a glorious one. They would have no songs. No great tales in books. No laurels. No consolation, no thanks.
But they would be the reason why, when the darkness finally came, all of them in all their different colours would stand shoulder to shoulder and draw their wands as brothers in arms.
Not for achievements. Not for trophies. Not for power.
For goodness. For hope.
And when the time came for them to choose the words that would forever guide the children that would come to them, Helga smiled and engraved, upon a bronze plaque, these words:
Draco dormiens nunquam titillandus.
(But her students remembered a very different set of words. Hogwarts will always be there to welcome you home.)
(Helga Hufflepuff requested by boney-eyes-jefferson)
#and this my friends is why no one is quite sure what a hufflepuff really is#the answer is: everyone #they come in a million different shapes and sizes#they could be braver than gryffindors #and more cunning and more ambitious than slytherins #even smarter than ravenclaws #but they all come to hufflepuff #and there learn to be loyal and fair and goodhearted #and that quite possibly #is why hufflepuff has hardly any dark witches and wizards #because they have learnt how to be the very last line of defence #before chaos takes over the world #and thisTHIS is the sleeping dragon you do not tickle #because if they can’t protect the earth you can be damned well sure they’ll avenge it #look i gave myself hufflepuff feels
- Over-explanation. This includes prologues. “Prologues are never needed. You can usually throw them in the garbage. They’re usually put on as a patch.”
- Too much data. “You’re trying to seduce your reader, not burden them,” Friedman said.
- Over-writing, or “trying too hard.” “We think the more description we add, the more vivid it will be; but we don’t want to be distracted from the story” we open the book for.
- Beginning the novel with an interior monologue or reflection. Usually this is written as the thoughts of a character who is sitting alone, musing and thinking back on a story. Just start with the story.
- Beginning the novel with a flashback. Friedman isn’t entirely anti-flashback, but the novel’s opening page is the wrong place for one.
- Beginning a novel with the “waking up sequence” of a character waking, getting out of bed, putting on slippers, heading for the kitchen and coffee…a cliche
- Related cliche: beginning the novel with an alarm clock or a ringing phone
- Starting out with an “ordinary day’s routine” for the main character
- Beginning with “crisis moments” that aren’t unique: “When the doctor said ‘malignant,’ my life changed forever…” or “The day my father left us I was seven years old…”
- Don’t start with a dialogue that doesn’t have any context. Building characterization through dialogue is okay anywhere else but there.
- Starting with backstory, or “going back, then going forward.”
- Info dump. More formally called “exposition.”
- Character dump, which is four or more characters on the first page.
HARRY POTTER ALPHABET → z
↳ zabini, blaise
"Yeah, Zabini, because you’re so talented… at posing…"