Typical Sentences For Voyeurism Offences

Okay, but what if Danny, in an effort to be less of a liar and more of a cheater, learned sleight of hand and magic and lock picking?

What if, as he gets older and the need to explain how he got in somewhere, or how he got something, or how he got out of something gets to be so abysmally frequent that he just decides: fuck it. I’m gonna be that guy. You know, that guy that just Knows Weird Shit. That guy that just Does Things because he’s a little feral.  

Instead of risking his identity and/or getting shot at as Phantom he just...becomes the delinquent that breaks into random places just to see if he could. Just ‘cause he’s bored. If they coincide with Phantom’s activities? Well. Phantom’s a cool guy. Maybe he’s got taste. 

He’ll break out some card tricks, do a little invisibility, make a little telekinesis happen--just cool little party tricks in the middle of the day. Break into locked closets just to ditch class purely because “fiddling with his magic tricks is better than class” (and totally not because he’s out there fighting ghosts, no sirree). 

Practices incessantly during lunch hours. Starts trying to break out of handcuffs in math class. A little bit of a routine with escape artist tricks applied liberally to get out of English class. Tries to see if a teacher can catch him in the act. (They never can, and it only takes a couple months for it to be purely on his skill, and not with a little help from his powers).

Loudly proclaims he’s trying to hunt Phantom, but not to “rip him apart,” just to hang because Danny thinks he’s really neat. 

Imagine that being Danny’s best fucking cover, cause at this point, whose gonna question why Danny is standing right where Phantom just disappeared to? Danny probably broke in just to stalk the poor ghost. Jesus. He’s been in weirder places for weirder reasons. He once pulled a rabbit out of some kid’s ear. His reason? 

“I just thought the coin trick was so dull. Plus, you know, bunny ears? ...No? Too much of a stretch? Yeah I thought so too. Oh, well. Back to the drawing board I guess.”

PSA: Don't use Open Office

I keep seeing people recommending Open Office as an alternative to Word, and uh... look, it is, technically, an open source alternative to Word. And it can do a lot of what Word can, genuinely! But it is also an abandoned project that hasn't been updated in nine years, and there's an active fork of it which is still receiving updates, and that fork is called LibreOffice, and it's fantastic.

Seriously, if you think that your choices are either "grit your teeth and pay Microsoft for a subscription" or "support free software but have a kind of subpar office suite experience", I guarantee that it's because you're working with outdated information, or outdated software. Most people I know who have used the latest version of LibreOffice prefer it to Word. I even know a handful of people who prefer it to Scrivener.

Open Office was the original project, and so it has the most name recognition, and as far as I can tell, that's really the only reason people are still recommending it. It's kind of like if people were saying "hey, the iPhone 14 isn't your only smart phone option!" but then were only ever recommending the Samsung Galaxy S5 as an alternative. LibreOffice is literally a version of the same exact program as Open Office that's just newer and better – please don't get locked into using a worse tool just because the updated version of the program has a different name!

🎉 Writing commissions are now open! 🎉

Hi! I’m Mae, and you might have seen me lurking around on here. I’ve decided to open commissions for writing, and that includes short stories, original works and fanfiction!

✨What I offer:

- Original works: If you have a story idea, world building you need help with, dialogue, or anything else, then I will be able to help. If you’d like to just provide an idea, and have me build on that, then that’s fine. If you need help with your own writing, then take a look at beta reading.

- Beta-Reading: If you need a second opinion, someone to edit, and someone to help you with revisions then I can help with this. I’ll provide feedback on your plot, pacing, and overall story.

- NSFW work: DM me or send an ask about this service.

I offer stories ranging from 0 words to 20,000 words. If it is any longer than this, then please be prepared to either be rejected, have to pay more, or have to wait longer.

💰 My pricing is as follows:

£1.00/$1.30 per 100 words, 0.01/0.013 per word, £10/$13 per 1,000 words. Subject to change. I will only ever accept payment through PayPal.

📧 OPEN COMMUNICATION: Throughout the process, I will be in constant communication with you via email/a platform that enables communication. Once the project is over, I will be able to do a maximum of 2 MAJOR revisions (i.e rewriting the entire story, cutting off or adding plot points etc) before I will charge you an extra £2 ($3) for each major revision after this.

💬 How to commission me: If you’re interested, please send an ask with the following information:

- The type of commission you’d like

- A brief description of your idea or specific details for your project

- Word count preferences or specific length requirements

- Any deadlines or timelines you have in mind.

How fucking annoying is it when you feel so restless with creative energy but you can’t decide what to do with it and when you finally try to create something it comes out shit so you just give up and sit there being all creatively annoyed and jittery.

So is that just her own schedule and she was keeping it up to date with everything she knows about Adrien then? That’d honestly be a lot less creepy and a good explanation.

Still a bit stalker-ish having all that stuff about Adrien on there in the first place but it’s an improvement

Also that looks like the picture from the opening credits of Alya and Marinette where they have mustaches drawn on

now that i’m free to yap about 1-800-GOTHAM without my a/ns being ridiculously long, deep dive into why i wrote things the way i did! if people want, i can go even more in depth, but for now, a quick paragraph for each reblog.

first, scarecrow. i did my hardest to make him real scary and intimidating but almost in a clinical fashion, mainly since he's a psychologist. i know he typically targets specific fears someone might have, but let's just say he was going for a mass fear control situation. everyone is scared of suffocating, anyways.

i also had him purposely not use his fear toxin because i think it's not the most important part of his character. he's a psychologist, he's a genius of fear, and he's very intelligent. scarecrow is also my favourite rogue and it sucks to see him always sidelined, his fear gas being the only thing used. he's SCARY. i hope i did him justice.

which one of u was going to tell me that tea tastes different if u put it in hot water?

trio headcanons

Writing Notes: Magic Systems

Magic - change wrought through unnatural means

Most fantasy can be placed along a spectrum where there are 3 main points: soft magic at one end, hard magic at the other, and a middle ground between the two.

Soft Magic

Magic that is not well-defined for the reader.

Generally, we don’t understand where the magic comes from, who can use it, or what its limitations are.

Readers can see this type of magic being used.

But they can never anticipate when magic will be used in the plot because they can’t begin to guess how it works.

You can’t break a rule if the rules don’t exist!

Most stories that feature this system will have the magic users be secondary characters, allowing them to avoid explaining exactly how the magic works.

It’s also argued that without knowing everything about the magic, it tends to hold more wonder and excitement for readers.

Hard Magic

Has very rigid boundaries.

Readers know where the magic comes from, how it’s used, who uses it, and what its boundaries and limitations are.

We know the limitations of the characters and can understand why they can’t simply magic themselves out of any particular challenge.

Stories with hard magic systems do not need to avoid the main character being a magic-wielder, as they have the capacity to explain to the reader what is going on.

A lot of writers this system because it gives them very explicit guidelines to follow in their plot and creates some more satisfying pay-offs for readers.

The Middle Ground

The meeting point between the soft and hard systems.

We might understand a bit about the way the magic works, but not all our questions are answered.

While most of the content adheres to rules, these rules aren’t fully explored.

This system relies on the reader’s suspension of disbelief.

The main character can be a magic-wielder or not, and it’s up to the writer to determine when magic will be used in terms of plot.

How to Choose a System

You can and should use these guiding principles to build your magic system. Remember that you don’t have to choose one or the other. Your system can draw from aspects of both. Just stay aware of the weaknesses of the path you choose, and ensure you utilize its strengths.

Use a hard magic system if:

You are going to use magic to solve problems

Your audience is accustomed to the tropes of hard magic

You are okay with jumping through hoops to expand your system

Your magic doesn’t convey a theme

Use a soft magic system if:

You want to convey a theme through magic

You want to create a sense of wonder

You want the ability to expand easily

You want to be accessible to a broader audience

Your magic won’t regularly be used to solve problems

Branches of Magic

Like most writing processes, there isn’t really a correct place to begin designing a magic system. A common, and efficient, place to start, however, is by choosing what type of magic system(s) you wish to employ, such as:

Nature-based magic: water, earth, fire, air, and everything in between

Divination magic: see beyond sight and peer through time and space

Conjuring magic: move objects through space over any distance

Psychic magic: master the world of the mind

Life and death magic: tap into the very forces of life, death, and un-death with this surprisingly versatile collection

Animal- or creature-exclusive magic: some creatures just do it better

Magitech systems: the blurring lines of sorcery and science give magic a next-gen, high-tech flair

Eclectic magic: it doesn’t have to be “real” magic to have a real effect

Uncommon magic systems: the unsung heroes of fantasy magic

AALC Method

How to create your own magic system using the AALC (Appearance, Abilities, Limits & Cost) Method

Appearance

What the magic looks like

Makes the world feel more exotic

Can cause problems for characters but cannot solve them

Usually tied to a character arc

Abilities

What the magic does

Points calculated based on magical effect, range, number of people affected, and duration

Characters have a finite amount of fuel (mana) to use abilities

More powerful abilities require more fuel

The fuel does not have to be overt for the audience to understand

If points not overt, cannot solve conflicts unless a cost system is added

Limits

Unlimited uses of magical abilities

Abilities stratified in codified levels defined by their limits

The more the levels' abilities and limits are known by the audience, the more they can be used to solve conflicts

Focused on clever uses of abilities against stronger foes

Cost system can be added to enhance dramatic moments

Cost

Costs must be greater than or equal to abilities to make them dramatically satisfying

Costs can include time, exhaustion, materials, sanity, morality, etc.

Adds dilemma to magic by forcing characters to make choices

The greater the character's sacrifice, the more audience satisfaction at conflict resolution

Each system builds on the previous ones, so that Cost Systems use all four, while Point Systems only care about Abilities and Appearance.

Multiple systems can exist within the same story, and systems can harden over the course of the story.

The Force, for instance, has been a Soft, Point, Level, and Cost System depending on who wrote it at the time.

SOFT SYSTEMS (Appearance Only)

Window Dressing - magic for secondary characters; can instigate conflict but cannot solve it; e.g., Gandalf

Soft Villain - No explanation or upper limits needed; makes villains more powerful to make heroes greater underdogs; e.g., The Emperor

Chosen One - Unknown power keeps hero safe throughout story; can be considered plot armor unless earned through character arc

Sort Hero Incomplete - Curse or positive ability the character cannot control; hero still learning limits of ability at story's end; powers and arc continued in next adventure

Soft Hero Complete - Hero embraces ability to complete arc and solve main conflict; magic must become harder in subsequent adventures

POINT SYSTEMS (Appearance + Abilities)

Points Opaque - Non-explicit reservoir of energy fuels powers; cannot solve main problems without cost option because characters finding hidden energy reserve feels like deus ex machina

Points Hard - Both abiliites and points system must be explicit like in video games; becomes about resource management; easy to understand but takes sense of wonder out of magic

LEVEL SYSTEMS (Appearance + Abilities + Limits)

Soft Level Static - Unchanging power without upper limits; cannot solve conflicts because feels repetitive; power must be used cleverly; e.g., Wolverine's healing factor

Soft Level Advancing - Increased powers or new powers with unknown limits; cannot solve conflicts unless tied to a character arc like Soft Hero Complete, at which point "unlocks" new abilities

Hard Level Static - Unchanging abilities with clear-cut limits; can solve conflicts so long as setup is properly seeded, usually resulting in sacrifice; e.g., Genie

Hard Level Advancing - Well-established abilities with limits; can solve conflicts based upon clever uses of abilities, usually against stronger foes; e.g., Airbender

COST SYSTEMS (Appearance + Abilities + Limits + Cost)

Static Cost - Well-established cost remains consistent for each use of ability; can solve conflicts since based on personal sacrifice

Cost Fluctuating - Costs change based upon dramatic need; costs must be greater than or equal to ability; possible costs include lost time, money, sanity, health, memory, life, morality, etc.

Sources: 1 2 3 4 5 6 Writing Notes: Magic System ⚜ Fictional Items; Poisons ⚜ Fantasy

I want an AU where after Jason gets brought back to life, he channels his inner rage and turmoil into the academics instead of murder

Talia has like infinite money and a crap ton of influence, so she can absolutely get Jason the best tutors and can easily get him into the most prestigious schools if Jason wanted to (she doesn't need to do that though because Jason's just smart enough to get into them on his own)

The major he chooses? Med.

Why? Because Bruce dropped out of med school.

Jason practically flies through all the secondary education that he needs to catch up on and is already en route to earning his bachelor's AND his master's.

And it'd be so incredibly funny if the way Bruce and Jason reunite in this AU was purely by coincidence.

Bruce (as Brucie Wayne) offers to show up as a guest lecturer at Hudson University (the school Dick attended but dropped out of so double points for Jason), maybe to talk about future career paths and job positions at WE idk

So as Bruce is just wandering around the campus, he randomly bumps into a student and immediately puts on the Brucie act and is all "Oh my, I'm SO sorry, I'm just a klutz haha" only to stop dead silent when he makes eye contact with a very alive, very grown Jason Todd, who also stops dead in his tracks, mouth agape, staring at Bruce like the world's about to end

And before Bruce can get his thoughts straight, Jason just bolts out of there like his life depends on it, and Bruce is just in shambles for the rest of the day.

It doesn't help that the person giving Bruce the tour is all like "Oh yeah, that's Jason, he's one of the heads on our student council haha, anyways, this way, Mr. Wayne." and Bruce is just stood there bluescreening.

----

Alternatively, it'd be kinda funny if this all happened AFTER the events of UTRH where after the final encounter with Bruce and Joker and the whole explosion, Jason's just like "yk what, maybe I'm just gonna turn over a new leaf and pursue a higher education"

So while Gotham's still reeling from the aftermath of Jason's near takeover as the top crime lord and Bruce is still painstakingly trying to figure out where his son went, the whole time Jason's just been chilling on a school campus and Bruce just so happens to bump into his son (who, last time they met, tried to kill Bruce and blew up the building they were all in) and Jason's just all normal-looking with his textbooks and nerdy glasses and Bruce doesn't know whether to scream or cry.