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Breaking via ABC News: UN Human Rights Council votes to open inquiry into alleged war crimes in Gaza; U.S. is the ONLY “no” vote.
That’s because the U.S. is a direct accomplice to every war crime that Israel commits.


Breaking via ABC News: UN Human Rights Council votes to open inquiry into alleged war crimes in Gaza; U.S. is the ONLY “no” vote.

That’s because the U.S. is a direct accomplice to every war crime that Israel commits.

(Source:, via geekmehard)

(Source: arthurdrvill)

(Source: arthurdrvill)



James D’Arcy (“Broadchurch,” “Let’s Be Cops”) will play Edwin Jarvis, Howard Stark’s butler and an unexpected ally to Peggy Carter, joining the previously announced Chad Michael Murray as SSR Agent Jack Thompson and Enver Gjokaj as Agent Daniel Sousa as they help Peggy (Hayley Atwell) navigate her way through what may be her most dangerous mission yet! (x)

!!! I didn’t expect to ever get Edwin Jarvis in the MCU as well.

is that why J.A.R.V.I.S. is called Jarvis? Because he was the butler for Tony’s father?

(via geekmehard)

Don’t worry, everyone does that on their first day.


Writer’s Block

In one sentence is the spark of a story. Ignite.

Mission: Write a story, a description, a poem, a metaphor, a commentary, or a memory about this sentence. Write something about this sentence.

Be sure to tag writeworld in your block!


“Don’t worry, everyone does that on their first day.”

The wall in front of her had collapsed in a heap of rubble. As they stood there, looking at it, an occasional brick fell down with an echoing crash. Clouds of dust filled the air, making it hard to even see what had happened.

When the dust cleared, he added, “Oh.” A pause. “Maybe they don’t do that…”

There was an enormous hole where the end of the alley used to be and their suspect was under the rubble. His foot protruded out from under a particularly solid piece of wall. The foot was not moving and it looked as if it hadn’t moved for a while. Her companion crouched down and reached out to put his hand around the foot, just above the ankle joint.

She saw a faint green sheen rise from his hand and creep up the calf. He waited for a few seconds, as the sheen travelled back to him, and then he looked up at her and shook his head. “He’s gone. Massive head injury, too.”


Standard protocol was to bring people in alive. Stunned was okay but alive was the main aim. It was tricky to question dead people; not impossible, mind you, just tricky. It meant calling in the heavy duty guys and no-one wanted to do that. Although how much information they could get from a guy with a caved in skull was another moot point.

She sighed.

“You might just need more practice?” He sounded as if he was trying to be conciliatory.

“I just killed the only lead.”

“Yeah… you did.”

“I can’t even aim right.”

“Well… to be honest, if you had hit him with that bolt, there wouldn’t have been a foot left for me to touch. You would have blasted him to smithereens.”

That was true, too. Her aim was off and her power levels (she had meant to stun him) were out of control. And she didn’t know why.

She was better than this and she wasn’t just saying that; she really was better than this poorly executed arrest looked. They might never let her out on a job again. “There’s something wrong,” she muttered.

He was staring at the foot again; almost as if he was willing it to move. “Hmmm?”

“Something’s wrong.” She said it very low and very quiet. “Can you scan me?”

He stepped towards her.

“Try not to touch me as you do it,” she added. “Just in case.” She was starting to think that there may have been a reason for the suspect’s increasingly erratic behaviour.

He gave her a very odd look. “I haven’t tried this for a while,” he said. Palms facing her; fingers spread - the green light danced and whirled between his fingers as if it was a living thing. It kind of was. “I’ll just see if I can read your aura. Close your eyes.”

She felt a faint tingling buzz pass across her face. The hairs on her scalp lifted and she resisted the urge to shiver.

“Kiss my artichoke,” he said.

“What?” Eyes open now.

“I don’t like to swear,” he said.

“No… what did you see?”


“And that’s… bad?”

“Your aura should at least show that you are alive and currently highly stressed. It should be green - for life - with a touch of orange for stress and maybe blue for sorrow or worry.”

“And it isn’t?”

“It is… it’s just buried under something.”

She pointed at the buried suspect. “I touched him… back at the apartment.” Before he had run and they had pursued him.

He stepped back, held his hand near his temple and spoke, “Healer 12 to Base.”

“Go ahead, Healer 12.” She could hear their response in her own head.

“I need a body pick-up and stabilisation chamber for the recently deceased…” he paused. “And I need a magical quarantine for my spell-partner.”

“Repeat that!”

He did.

“They’re coming,” he told her. It was unnecessary; she had heard their response and she knew protocol. She gritted her jaw and tried very hard not to panic.

“Try not to get angry,” he suggested carefully. He put his hands up in a placating gesture and they both saw it; a smoky tinge to his normal healthy glow.

He gave her a sad smile and touched his temple again. “Base? Make that two quarantine units.”


© AM Gray 2014


Ten Things To Never Say To A Writer


From Chuck Wendig’s blog: a hilarious and oh-so-true list of what to NEVER say to a writer.

My favorites:

“You Know, I Wanna Write A Book Someday.”

"Gosh, I wish I had time to write."

"Hey! You can write my idea."

"You should write my life story."

Are you a writer? Read his post to see the appropriate response (click on the title of this post & it will magically take you there).

(via terribleminds)

Star Trek Into Darkness - Gag Reel

do we need context? yeah… maybe not

(Source: midnytemercury, via uss-damnitjim)


"If books were truly unique, non-commodity works of art, there would be only one copy. New works would be sold in book galleries, and classics would hang in a book museum for people to stand in front of and read as a unique book experience…and it would be HORRIBLE. There’s a reason the printing press is hailed as one of the most important inventions in human history. It took books, which had previously been unique, hand copied works of art available only to the rich, and made them reproducible, vastly expanding the number of people with access. It is precisely the cheap, abundant, easily accessible, commodity nature of books that makes them such a huge part of our lives. Clearly, Authors United thinks so, too, because one of their primary complaints is that Amazon has stopped discounting their books, a move they claim has made sales go down “by at least 50 percent and in some cases as much as 90 percent.” To be clear, this is a valid complaint. By ensuring Hachette books have a relatively higher price to the rest of their stock, Amazon is intentionally hobbling sales. BUT OH MY GOD, PEOPLE, you can’t say “Books are special! Books are not commodities!” in one breath and then complain that Amazon isn’t treating your book fairly as a commodity the next."

Pretentious Title: Your Book is Not a Special Snowflake

What You Should Know About Writing Horror: A Beginner’s Guide


One of my favorite genres is horror. I haven’t written a horror novel yet, but I love reading them and I love anything that has to do with horror films. And now it’s almost that time of year to get completely overwhelmed by the horror genre. Hopefully this beginner’s guide will help out.

“The three types of terror: The Gross-out: the sight of a severed head tumbling down a flight of stairs, it’s when the lights go out and something green and slimy splatters against your arm. The Horror: the unnatural, spiders the size of bears, the dead waking up and walking around, it’s when the lights go out and something with claws grabs you by the arm. And the last and worse one: Terror, when you come home and notice everything you own had been taken away and replaced by an exact substitute. It’s when the lights go out and you feel something behind you, you hear it, you feel its breath against your ear, but when you turn around, there’s nothing there …” — Stephen King

The key to writing good horror is learning how to create tension and suspense. These two terms go hand in hand with writing horror. Here’s a little big about each of these terms:

Tension creates the feeling you get when you know something bad is going to happen. If you put in the right details, your readers will feel tense when they read your story. They’ll anticipate something awful happening and will be unsure of when it will actually happen. Tension is mental or emotional strain in a story.

Suspense is a state of feeling excited or anxious and having uncertainty about what’s going to happen next. Tension creates suspense and they go hand in hand. Suspense is created when the audience is on edge and wants to know what the outcome of certain situations will be. A cliffhanger at the end of a chapter, for example, will build suspense. You’ll need to build suspense if you want your story to stay exciting.

While most stories have suspense and tension, the horror genre depends on these elements to be successful. A story becomes frightening when the audience feels anxious. Fear can be at the heart of every story if you look deep enough, so horror stories thrive on basic human emotions.

Here are a few more elements you should pay attention to for horror:

Likable Characters

One of the biggest flaws of horror stories are the lack of likable and relatable characters. Some writers feel that it’s easier to watch unsavory characters die, but I think that’s a mistake. Your audience won’t feel anything when a character is killed off if they don’t form a relationship with your characters first. I think Saw works, for example, because we’re able to see typically “bad” characters in a sympathetic light. Try to build sympathy for your characters and humanize them in a way your audience will understand. I’m not saying your main character should be a nun in order to gain sympathy, but there should be something about them that your readers can relate to.


You cannot write horror without considering atmosphere. You need to know where your story is taking place and how those locations will help you build your story and create tension and suspense. Even ordinary locations can create an unsettling feeling if you use them right. Consider your story’s environment and focus on the feel of your novel. Feeling is very important in horror. Use your five senses.

Slow Pacing

Timing is essential in horror novels. This is when it’s perfectly acceptable, even encouraged, to slow down the pacing and let your readers simmer in uncertainty. A story becomes scarier if you have to wait to find out what happens and when you reveal information is of utmost important. Take your time with the build-up and your story will drastically improve by taking those simple steps. Wait!

Don’t Forget to Learn About Horror Cliches!

I sure I don’t need to tell you that the horror genre is riddled with cliches. Sometimes they work and sometimes they don’t. How you use them will determine if your story is successful or not. Here are a few to watch out for:

The Main Character is “Crazy” your character suffers from some sort of illness that makes them believe everything is happening to them, but they’re actually the villain. Not only is this insensitive to people who are suffering from said illnesses, but it’s been done to death. If that’s your twist, your readers will figure it out in a second and feel disappointed that they wasted their time.

The Main Character is Dead this was a great twist back in the 90s, but now it’s feeling dated. This is usually the second thing your readers will guess in terms of twists, so it won’t surprise anyone. If there’s a way you feel you can reinvent the cliche, then go for it.

This House is Super Cheap! How many times have we read a horror book or film where the house someone buys is super cheap because someone died in it and they’re like “I’m sure it’ll be fine”. I love the haunted house angle, but there should be a reason why those people need to live in that house. Take the time to figure out a plausible reason. Poltergeist is a great example of making it work.

Senseless Violence blood and guts are synonymous with horror, but they don’t do much to build tension and suspense. There’s also the no-motive cliche where the villain has no reason for doing what they’re doing. These ideas can work, and have worked, but there should be more to your story. Figure out what gives your story some depth.

Some cliches are the product of lazy writing, so take the opportunity when you can to step away from these story lines. Like I said, they can work, but you need to put your own twist on it. Reimagine cliches and make them feel fresh. Ultimately, do what works best for your story.

-Kris Noel