Im The Stage, You’re The Spotlight ! 

I AM NOT READY

WATCH ME HOLD THEM UP TO THE LIGHT AND NOT EVEN FLINCH

“You can say anything and I will not abandon you.”

hes got barbie doll legs or whatever

230117 - valentino on twitter and instagram

I need a Haikyuu!! wiki that documents what every character calls every other character. There are certain patterns (Takeda adds “kun” to their names, third years call kouhai by last names alone usually) but some characters are harder (such as Noya calling Tanaka “Ryuu” when Tanaka calls Noya “Noya-san”) I went through a few chapters and got a list started. Please feel free to add to/edit this list! It is very incomplete. Note: suffixes sometimes drop during matches.

Hinata to Kageyama: Kageyama or Kageyama-kun Hinata to Noya: Noya-san or Nishinoya-san or Nishinoya-senpai (on special occasions..!) Hinata to Suga: Sugawara-san Hinata to Tanaka: Tanaka-san Hinata to Tsukishima: Tsukishima Hinata to Asahi: Asahi-san Hinata to Kiyoko: Shimizu-senpai* Hinata to Kenma: Kenma Hinata to Takeda: Takeda-sensei

Kageyama to Hinata: Hinata Kageyama to Suga: Sugawara-san or Suga-san Kageyama to Asahi: Azumane-san or Asahi-san Kageyama to Noya: Nishinoya-san

Tanaka to Hinata: Hinata Tanaka to Noya: Noya-san or Noya Tanaka to Asahi: Asahi-san Tanaka to Daichi: Daichi-san Tanaka to Takeda: Take-chan (lol!) Tanaka to Kageyama: Kageyama

Suga to Noya: Nishinoya Suga to Asahi: Asahi Suga to Daichi: Daichi Suga to Kageyama: Kageyama Suga to Hinata: Hinata Suga to Shimada: Shimada-san Suga to Yamaguchi: Yamaguchi Suga to Kiyoko: Shimizu

Daichi to Suga: Suga Daichi to Asahi: Asahi Daichi to Tanaka: Tanaka Daichi to Takeda: Sensei Daichi to Noya: Nishinoya Daichi to Ennoshita: Ennoshita Daichi to Kiyoko: Shimizu Daichi to Yui: Michimiya

Noya to Asahi: Asahi-san Noya to Hinata: Shouyou Noya to Tanaka: Ryuu Noya to Tsukishima: Tsukishima Noya to Kageyama: Kageyama Noya to Yamaguchi: Yamaguchi Noya to Daichi: Daichi-san Noya to Kiyoko: Kiyoko-san Noya to Ennoshita: Chikara

Tsukishima to Kageyama: Your Highness or Kageyama Tsukishima to Yamaguchi: Yamaguchi Tsukishima to Hinata: Hinata Tsukishima to Asahi: Azumane-san Tsukishima to Ukai: Ukai-san Tsukishima to Kiyoko: Shimizu-senpai

Yamaguchi to Tsukishima: Tsukki Yamaguchi to Yachi: Yachi-san

Yachi to Tsukishima: Tsukishima-kun

Kiyoko to Yachi: Hitoka-chan

Asahi to Suga: Suga Asahi to Noya: Nishinoya (I think also Yuu at times?) Asahi to Hinata: Hinata Asahi to Kageyama: Kageyama Asahi to Tsukishima: Tsukishima Asahi to Yachi: Yacchan

Takeda to Noya: Nishinoya-kun Takeda to Ukai: Ukai-kun Takeda to Hinata: Hinata-kun Takeda to Kiyoko: Shimizu-san Takeda to Suga: Sugawara-kun

Ukai to Takeda: Sensei

Akaashi to Bokuto: Bokuto-san Akaashi to Kuroo: Kuroo-san

Kuroo to Tsukishima: Glasses-kun then Tsukki Kuroo to Hinata: Shorty Kuroo to Kenma: Kenma

Kenma to Kuroo: Kuro Kenma to Hinata: Shouyou

Inuoka to Hinata: Shouyou

Bokuto to Kuroo: Kuroo-kun Bokuto to Tsukishima: Glasses-kun then Tsukki Bokuto to Akaashi: Akaashi

Yaku to Lev: Lev Yaku to Suga: Suga-kun

Lev to Yaku: Yaku-san

Oikawa to Daichi: Sawamura-kun Oikawa to Iwaizumi: Iwa-chan Oikawa to Kageyama: Tobio-chan (just “Tobio” when speaking about him to others) Oikawa to Ushijima: Ushiwaka-chan Oikawa to Hinata: Shorty

Iwaizumi to Oikawa: Oikawa Iwaizumi to Kageyama: Kageyama

Shimada to Yamaguchi: Tadashi

Ushijima to Oikawa: Oikawa

Yui to Daichi: Sawamura

* when speaking to Kiyoko, Hinata starts out with “Ki” and then corrects himself to Shimizu-senpai

Pride and Prejudice

(2005)

Smashing Pots

Every now and then, people ask me if I should go to art school, and I usually say something like “Do you want to go to art school?” and if they say “Yes,” then I say “Yes,” and if they say “No,” then I say “Don’t.” This is why I am a crappy source of career advice.

However.

There is ONE class that I think nearly every writer, artist, and creative type out there would benefit from, and as it happens, it’s ceramics. Preferably with a strong wheel-throwing component.

No, really.

Back in ceramics class, in college, at the end of the year we would gather up all our dishes and pots and sculptures that we had labored over for weeks—and you really do labor for weeks, because you’re sculpting and drying and firing and glazing and firing again—and we would look at them. And what we generally realized was that we had created a lot of things that sucked. There is just a point where you hold this lumpy-ass thing in your hand and you realize that it has not added to the sum total of awesome in the universe—and that you don’t have to keep it. And then you wind up and fling it into the massive dumpster behind the ceramics studio and it smashes against the bottom and a demented exhilaration surges through you and you grab the next one and smash it and it is glorious. Now, there are people who do not smash their failed work, who cannot bear to do it, and so there was always a shelf full of sad lumpy clay things with a little “free to good home” sign on it. Some of them possibly were adopted eventually. Mostly, though, we learned to smash. Pottery, particularly wheel-throwing, is wonderful for this, incidentally. You fail over and over and you fail fast and you are creating quantity to lead to quality. You throw and throw and throw and things die on the wheel and things die when you take them off the wheel and things explode in the kiln and after you have made a dozen or two dozen or a thousand, none of them are precious any more. There is always more clay.

It breaks you of preciousness and perfectionism. You can’t fiddle for two hours with wet clay on the wheel getting it perfect. It’ll be an over-saturated lump of mud long before then. If the walls are thrown too thin, they are too thin. It’s not worth fixing. Start over. Do it again. Finish, don’t fiddle. I can’t do pottery any more because if I tried to hunch over a wheel these days, my back would go out so hard that I would never walk upright again. But I still think it was one of the most valuable classes I ever took, because it taught me to acknowledge failure, not to fear it, and then smash the hell out of it.

In the words of Denmark's legend Kasper Schmeichel: ✨ 𝓗𝓪𝓼 𝓲𝓽 𝓮𝓿𝓮𝓻 𝓫𝓮𝓮𝓷 𝓱𝓸𝓶𝓮? ✨

The good plot twists aren't the ones that are wild left turns out of nowhere, they're the ones that make all the other little things that didn't quite add up before suddenly click

“You have already left kudos here :)” not on this chapter bitch move over

emotional support ❤️