Can’t Wait For The Dean Fic! Can We As A Collective Acknowledge That Dean And Ginny Got Together Very

Secrets of the Darkest Art: How to Make a Horcrux

So I saw many theories regarding how to make a Horcrux, but none of them really made perfect sense to me, so I decided to give it a crack myself as part of my mission to understand Lord Voldemort/Tom Marvolo Riddle (Which I think I did, big post coming about that at some point, this is but another piece of that puzzle of a man)

So this is my reverse engineering of a ritual to create Horcruxes based on book evidence, my knowledge of real-world alchemy, real-world ancient Greek cults and rituals and linguistic analysis.

How to reverse engineering a dark magical ritual:

The first thing, is to define what we knew fore certain:

The name: "Horcrux"

The creator is an Ancient Greek wizard named Harpo the Foul.

A death is required in the making.

A Horcrux holds a piece of the casters soul that anchors them to life so they won't die.

I'll actually start with the third point.

How to split a soul?

Both Dumbledore and Slughorn mention a death being required to tear your soul to make a Horcrux, and that never really sat right with me. It magically doesn't make sense and even the canon examples we have for Horcrux murders make this statment iffy.

We have seven examples of murders used to create Horcruxs (thanks to one Tom Riddle being dramatic):

The Diary - Myrtle Warren - killed by a basilisk. Sure, Tom freed the Basilisk, but it hardly seemed targeted at Myrtle specifically and you can argue he didn't actually kill her (more a manslaughter by negligence). He didn't cast the spell, so how come this tore his soul?

The Ring - his father (Tom Riddle Sr) - Avada Kadevra.

The Cup - Hepzibah Smith - she was poisoned by her house elf. Sure, the elf was under the imperious, but it wasn't a first-degree murder, and like with the Basilisk I find it hard to consider this the same as casting a killing curse. Magically those are very different things.

The Locket - Muggle Tramp - Avada Kadevra

The Diadem - Albanian Peasant - Avada Kadevra

Harry Potter - himself - backfired Avada Kadevra

Nagini - Bertha Jorkins - Avada Kadevra

Now, I used the term "magically different" or "magically make sense" what do I mean by that?

Well, besides the fact I'm going to make a full post about how I see magical theory in the Harry Potter Wizarding World, I'll say it takes a lot after occult philosophies from Alchemy that are very old, Slughorn mentions as much in book 6 and there are a few other references to it. I'm just gonna cover the basics required for this theory.

In Alchemy, everything (people, animals, plants and rocks) are built of three base components:

The Salt - the body - the physical form.

The Sulfur - the soul - the self that holds the divine flame.

The Murcury - the spirit - the life essence that binds the salt and sulfer together.

Now, in Alchemy, the main study is in purifying and combining these different aspects of material. Let's look at a herb, for an example:

If we want to retrieve its salt, we'll dry the herb completely using fire to leave behind a fine light grey ash that represents only the physical form.

If we wanted its mercury we'd distill all liquids from it until we get a purified, clear liquid which in the case of plants would be alcohol (it's why alcohol is referred to as "spirit").

And if we wanted its soul, we would take the remains from the distillation and drying process which would be a kind of oil.

(it can get more complicated with different materials, but this isn't a post about Alchemy)

Now, back to Horcruxs.

So, if we would want to split a soul, Alchemecly, how do we go about it?

Well, we don't. Not really. See a soul can't really be split, as every part of it, every bit of that oil from our random herb represents the entire soul. It's why something like a Horcrux could theoretically work in giving a full life to the diary the way we see in Chamber of Secrets.

Additionally, to work with any material in Alchemy, you are required to purify it first. It means that to get a piece of soul to bind to a diary, you need a pure soul.

Killing someone else won't sever your own soul from the spirit and the body, it's not how this works. Killing someone severs their spirit and therefore splits their body, spirit, and soul. Besides, an Ancient Greek man, like Herpo was, would hardly consider murder as vile as we do today. It wouldn't even cross his mind that any murder (even an indirect one) could harm one's own soul.

No, the only way to "split" a soul is to first sever it from life, disconnecting the bond between soul and body. Essentially, the only way to promise you immortality is to kill yourself.

I know it sounds a little confusing, but, essentially, once the soul is severed from the spirit and body you can split it. Think of the herbal oil, once you have the oil, separate from the rest of the plant parts, you can combine it with new ingredients. You can only work on a specific aspect once you severed it from the other two and as what binds all three together is spirit — life — the only way to do it for a human soul — is death.

But really, how?

Well, here comes the second thing we know about making Horcruxs — that dear Herpo was Ancient Greek.

In Ancient Greece they had multiple different religious cults, some of which were Chthonic cults. Cults that dedicated themselves to death or ditties and heroes associated with death and more importantly — rebirth.

Many of these cults were dedicated to figures like Orpheous, Dyonysus, Persephone, characters in mythology who are known for going through the underworld — through death — and coming back out. These cults were very secretive and not much is known about their practices, but some is.

What is known is that they had rituals were they reenacted a death and then rebirth (usually drinking wine — a water if life, was the representation of rebirth).

This created a very clear idea in my head — to split a soul, you'll have to ritualisticlly, magically kill yourself, severe a peice of your soul and then revive yourself with a water of life — a potion.

This potion is never mentioned, but I believe it exists due to these Chthonic cult rituals and how they were structured. Not only that, but the Greek underworld did have a river known for being incredibly painful to drink, literally made of fire, but being able to bring the dead back - The Phlegethon River.

Note: Lethe River Water (the river in the Greek Underworld that makes the drinker forget) is a canon ingredient in a Forgetfulness Potion.

So what is the dead body for?

Well, congratulations, you killed yourself to retrieve a sliver of your soul and revived yourself so you won't stay dead. You found an item you can keep secure to tie that sliver of soul, too. Now, how would you bind then? After all, the only thing meant to bind a human soul to a body is a human spirit - a human life... you get where I'm going with this.

This is why Tom didn't have to be the one to do the deed. As long as he had a recently deceased corpse to harvest the life from to use to bind his newly split soul and the item of his choice.

It explains why nothing was missing from the bodies. Myrtle and the Riddles were investigated by the Ministry of Magic. One would assume the aurors would've noticed if any corpse was missing a hand due to the killer eating it (as other Horcrux theories suggest).

Not only was nothing missing from the body, the soul was intact. Myrtle became a ghost after death, a ghost is quite literally, just the soul, no body, no spirit.

So the only thing that was taken from Tom's victims was their life, quite literally at that.

Is that all? Can we make a Horcrux now?

Not really. See, when analyzing spells in Harry Potter is their name.

Avada Kadevra - is a reference to an Aramaic healing spell "Abracadabra" pronounced in Aramaic as: "Avra Kadebra" and meaning "I will create as commanded". Merged with the Latin word "cadaver" meaning "corpse" to create -> "I will create dead bodies as commanded"

Or Wingardium Laviosa - is a cross of the English word "wing", the Latin word "arduus" (meaning "high, tall, lofty, steep, proudly elevated"), or "arduum" (meaning "steep place, the steep" and the Latin word "levo" (meaning to "raise, lift up"). So together the spell means -> "lift high up".

So, it's pretty clear spells, their names and incantations are very self-explanatory. So a Horcrux should be no different.

I've seen some attempts at translating the name Horcrux. Unfortunately, these attempts treated the name as Latin, modern Greek, or Old English. Herpo, was Ancient Greek, though, so I went and translated a few possible meanings from Ancient Greek (Classical Greek and Homeric Greek are what I looked at):

ὅρκος (orkus, pronounced "hor-kus") - an oath, the object by which one swears, bound by oath (still used in modern Greek).

κρόκες (crukes, pronounced "cru-kes") - saffron-colored (blood red in Greek), crocus flower. The crocus flower symbolizes both death (the saffron that is the spice) and rebirth (the golden crocus which brings renewal and joy) because Demeter wears them when Persephone returns from the underworld in myth.

So what we have is a spell called "binding oath of death and rebirth" which all around sounds fitting.

There might also be a "made in blood" tucked at the end due to the association of κρόκες with the color of blood.

But what does it matter?

Well, somewhat. As now with this name, I expect the binding between the spirit from the victim, the split soul, and the item would be done in a sort of oath - an orkus.

The association with blood gives us another hint. Blood is the part of the human body most representative of life. Therefore, in Alchemy, your blood is your spirit. So it'll make sense that your own blood would be used in the binding process or more correctly in the process of turning another person's spirit into your own. Making the thread to bind the body (item) and the soul piece your own. As it also refers to just a red firey color, it can indicate the Phlagatton potion I hypothesize should be part of the ritual due to how Chthonic rituals usually went, as the Phlagaton river is made of fire.

So we have a general idea on how to make a Horcrux. You need an item of your choice to bind your soul to. You need a life (spirit) harvested from a human that you transformed into being your own using your blood. And you need a piece of your own soul, which you get by killing yourself and then reviving yourself. And you finish it off by binding it all together with an oath.

But how could you make one accidentally?

So, everyone knows Voldemort succeeded in somehow making a Horcrux accidentally, something a lot of theories I saw don't account for. Becouse whatever process you need to go to to make a Horcrux, Voldemort went through all of it the night he died the first time and marked Harry.

All the steps for my method of making a Horcrux were met that night.

The item in qustion is baby Harry, nothing interesting there.

The soul sliver was split the way it always is — through death. Voldemort dies, killed by his own killing curse and that is what splits his soul.

The life or spirit that then binds his soul to Harry isn't Lily's spirit or James'; it's his own spirit that acts as a binder between Harry and Voldemort’s split soul. Because the spirit was already his, there was no need to transform it by blood.

Step-by-step guide to making Horcruxes:

I'm not going to actually give the full step-by-step least a budging dark lord is looking for this information. I do have notes about exact incantations and even the full recipe and instructions for the Phlagaton potion I'm going to mention. These instructions won't be here since they are more in the realm of speculation and headcanon. This is just the overview of the ritual based on canon information and the occult philosophy I mentioned above.

Step 1 - Life and Blood

Get access to a recently deceased human and extract their Mercury (Spirit or Life Essence).

Submerge the retrieved life essence with your own blood on a new moon (life and vitality). (7 drops of blood will probably do)

Step 2 - Water of Fire

To complete the cycle of death and rebirth you’ll need the Phlegeton Water potion to return you to life at the end of the cycle.

As you brew the potion, it must be brewed in a dark room, preferably underground to remind as much of the underworld as possible.

While brewing the potion one must be in the mindset of the Phlegeton, must be willing to go through agony to achieve eternal life and imbue these thoughts in their potion. (In alchemy, when working, it is believed you imbue your work with your thoughts during the Alchemical process. As an Alchemical process affects both the material being worked and the Alchemist themselves)

Likley Ingrediants:

Saffron spice

Golden crocus flower juice

Pomegranate juice

Step 3 - The Ritual Preparation

Set up your space so none of the components may escape the ritual space and so the ritual will not be interfered with.

Make sure the spirit you retrieved is within reach.

Make sure the item you desire will hold the Horcrux will be within reach as well.

Coax the spirit into the item and prepare it to tie your soul to the next step.

Step 4 - Death and Rebirth

To create a thread of your soul to tie to the ritual, you must die figuratively. Go through death to return stronger from the underworld.

Once you feel like death has reached you and your soul is separated you should heal your soul and finish the cycle, bringing you out of death and back to life by drinking the Phlegeton potion.

After the pain subsides you will feel healthier than before, stronger than before, and you’ll have an additional thread of sulfur (soul) in your chest to be pulled out and placed into the Horcrux.

The split-off soul should, on its own, try to search for life and a body to be bound to. If it doesn't, coax it out yourself and bind it to the Horcrux with the spirit you made in step 1.

Step 5 - Oath of Life

The connection between the body (the item), soul, and spirit is still unstable, if most likely strong enough to hold.

Swear the oath of life to finalise the bound between you, the Horcrux, and the soul thread together to ward off death.

I'll end with this note I made regarding Horcruxes when I started working on this theory:

I don't know what all goes into the process of making a Horcrux but I don't believe a person who truly likes themselves and doesn't want to inflict pain on themselves could make a Horcrux. Tearing up your soul is an act of arrogance above nature, sure, thinking you deserve to change the laws of the world and be the exception is part of it, but it's also an act of self-hatred. You need to hate yourself enough to be willing to kill yourself, hurt yourself, and tear yourself up in the most unnatural ways — hence why so few can do so, let alone more than once.

And Tom Riddle does seem to have that exact mix of arrogance, spite, and low self-esteem that would allow it.

I've always liked the idea of magic working in whimsical and mysterious ways, more than the school of thought that makes magic more 'technical'. The way Harry Potter's story is, I feel like I've been conditioned to enjoy the interplay between "magic" and "luck".

This to say, I'd always imagined Peter as a powerful wizard that few recognized until Voldemort. I imagine Dumbledore never had a clue-- he makes mistakes, he misses things. I like to imagine either James or Lily had a subconscious inkling, but never really thought about it. James just knew Peter was a self-conscious little fool at times, when he didn't need to be, really, see Peter! you became a freakin animagus! idk why you doubt yourself...

Voldemort canonically sought out the Potters at first (the motivations of which, is a whole other topic to whcih I want insight). Peter was a last resort, a means to end, but I imagine Voldemort was clever enough to realize that Peter was meant for the inner circle. Of course, anyone close to his plans for immortality automatically were held close out of necessity. No doubt, Snape initially entered that inner circle not for his Sectumsempra, but because he had been attracted to 'prophecy'/'destiny'. Both Voldie and Harry gradually develop a "sixth sense" for these things.

I personally subscribe to the headcanon of Peter deliberately blasting a nearby gas plant that fateful Nov day. Not only does that theory satisfy my personal belief that Peter was the creative escape-artist of the Marauders (james was most creative at inventing problems, sirius at getting into problems, remus at avoiding problems, peter at getting out of problems), but also allows the Muggles a shred of truth. It's both logical and 'lucky'. (Did Peter set the location of their confrontation deliberately, or was he drawn near to a gas plant through magic?)

Anyway, great Peter meta. Yes to Voldemort negging Peter. GoF Peter is a disgusting pitiful mess. It's fascinating to imagine a 'toxic relationship' there

Voldemort constantly belittling Peter throughout GoF is so interesting because he, Voldemort, is probably the person who best knows Peter's abilities at this point. He expresses surprise at Peter being able to convince Bertha Jorkins to go with him. And like...dude, you of all people KNOW how much of a manipulative snake Peter is, you Know how he convinced Lily and James and Sirius to trust him...why are you acting so surprised? Like Voldemort is the last person who should underestimate Peter. But he does: I think because he knows full well Peter is actually competent but belittles him to keep him loyal. Ohhhh the psychology of these two. It's so fascinating.

(....petermort? someone stop me.)

Arguing that James Potter’s death meant nothing is such a fundamental misunderstanding of the narrative that it makes me wonder if people have even read the books.

This is a man who ran headfirst toward his death in a desperate attempt to give his wife and son a chance to escape. A selfless, brave act of love that stands in contrast with Voldemort's personal war against death and Snape's desperate plea to bargain for the life of Lily while not caring if her husband or child dies.

James isn’t just a character who dies early, off-page, before the main character is introduced—he becomes a specter who haunts the entire story.

James’s absence profoundly shapes Harry’s journey as he struggles to define himself. His sense of masculinity and self-worth is deeply tied to the father he never knew but constantly strives to emulate. Sirius and Remus, broken by their shared loss, are mere shadows of their former selves, their lives forever marked by James’s death. Even Voldemort acknowledges James with a twisted form of respect when he taunts Harry in the graveyard.

To say James’s death means nothing disregards the emotional heart of the series. Harry’s story is fundamentally about grief—his desperate longing to connect with the family stolen from him, and his eventual journey toward acceptance. It’s about learning to live fully in the face of loss, choosing life over despair, and understanding death not as an enemy but as an inevitable companion.

James’s death isn’t meaningless—it’s pivotal. It echoes throughout the series.

James’s death means everything.

this 12 year old describes a girl as “glowing like the setting sun” when she blushes and people wonder why they ended up married [x]

tell me lily and Snape didn't invent new magical drug potions while smoking (gilly)weed in moaning myrtle's bathroom and I won't believe you

I'm in love, your honor

8 for Quidditch is for Losers <3

Did any real people or events inspire any part of Quidditch is for Losers?

One time, when my daughter was young and I was sleep-deprived, I watched her play in a mirror. She was delighted. She gazed at her hands, flipped them back and forth. She giggled at the way her fingers wriggled. She made faces, laughed, danced around, played hide-and-seek. She marveled at the way her legs moved, running in place. She was enchanted with her own being. She looked at herself and loved what she saw, not because of comparison or achievement – just because being alive and being her was marvelous. That’s where Ginny is at the beginning of QifL: Ginny loves being Ginny. She has no doubt, no fear, there’s nothing self-conscious about her. She has goals and dreams - it never occurs to her those might be out of reach. Sure, she’s failed before. But failure’s not the finish, it’s just a mile marker in a race she’s only halfway through. “Anything’s possible if you’ve got enough nerve” isn’t a motto yet, because life hasn’t put a condition on “possible.” At this point, she’s more “anything’s possible…duh." As we get older, we lose that sense of marvel, sense of self-as-miracle. We start to believe there’s something wrong with us. And that’s pretty much the story: Ginny’s purest self, Ginny’s fall, Ginny’s fear, and Ginny’s slow climb back to “Anything’s possible.”

Yeah, I've always had the headcanon that Romilda covered for Ginny this way -- we know she's clever, cunning and then got sorted into Gryffindor. I also always imagined Snape easily leaning into the story with half-remembered James-hatred. I mean, the kindling was already set by ol' Rita Skeeter back in GoF, wasn't it? I like how everyone here piles on to corroborate, painting a picture of Harry as an absolute slag.

I've always wanted to write a scene of mutual agreement and support (friendship is a strong word) between Ginny and Romilda Vane, so here's around 1600 words of something that might have happened during Year 7.

*****

They wait until after dinner to round on her.

Ginny is mildly surprised; she'd guessed they would question her as soon as she got off the train, but perhaps they thought that Snape's speech—not the Headmaster's, she'd never consider him so—might terrify her enough to make her betray everything she has ever believed on. If so, they were very mistaken; seeing Snape in the middle of the staff table, with Death Eaters by his side, only infused her Gryffindor spirit.

"Weasley," calls Alecto Carrow. She has a mind to pretend to ignore her, but the mass of students climbing the stairs seems to freeze with that call, and Ginny has no choice but to answer it, all eyes on her as she walks to Alecto Carrow.

"Yes, Professor." She puts as much spite in that word as she can. Neville and Luna suddenly materialize next to her, and Ginny almost wishes they would stay away, as if there is any protection to be found this year.

Alecto looks her up and down. "That's it?" Her voice is mocking. "That's Potter's girlfriend?"

By her side, Crabble and Goyle nod; their gazes are not as unappreciative as Alecto's. With a shudder, Ginny thinks she will favour disdain any day.

"I thought Potter had better taste."

She buries her nails into her palm. Don't answer, she tells herself, and tries to keep a look of disinterest.

"Where is your boyfriend?"

Her rehearsed answer comes in a bored tone. "I would know if I had any." It feels more than ever that everyone is staring at her.

Alecto doesn't seem convinced, nor do her cronies.

"They were dating," says Goyle, in a whisper that everyone can hear. "Everyone saw it, they were snogging all around the place."

"It's what happens when you are dating someone," snaps Ginny. "We've broken up." She hesitates for a tiny beat. "He dumped me."

This time her rehearsed line doesn't sound credible, despite being the truth. Everyone's gaze seems to burn, evaluating her answer, and, for a moment, Ginny waits for someone to question this, to raise the absurdity of her words: they were in love. As Goyle had noted, anyone could see how they felt about each other; Harry had been beaming the whole time they were together, all those few weeks of sunshine and happiness and hope. Harry wouldn't just dump her—

And then Alecto Carrow laughs.

"I guess Potter already got what he was after, then?" She mocks. "Blood traitors aren't a good value if..."

"Perhaps the girl is lying," another voice pops in, and Ginny turns to see Amycus Carrow joining his sister. His gaze upon her makes Ginny shiver; she remembers all too well duelling him. "Perhaps she knows more than she's letting on—"

"I wouldn't think so," Luna says, her voice as dreaming as ever. "If she knew, she wouldn't be here."

"Harry always kept his secrets," Neville adds, crossing his arms.

Amycus and Alecto share a look before Amycus takes a step forward.

"I will be the judge of that. If we have Potter's precious girlfriend—"

"I am not even his girlfriend anymore!"

It doesn't seem to matter, though. Terror floods her, not so much for herself; there isn't anything that she can share with them, but if somehow Harry finds out that they've got her—their breakup will be for nothing—he is too stupid and too noble to do something reckless—

Amycus grabs her arm; Ginny dives her hand into her pocket, but before she can take out her wand, many things happen. Professor McGonagall appears, Neville points his wand at Amycus, and Romilda Vane laughs nervously.

"Please," she says. "Weasley was his girlfriend, so what?”

That makes everyone draw their eyes to her. Romilda tosses her hair out of her face, seemingly enjoying the attention, but Ginny can see a thin layer of sweat breaking through the girl's careful makeup.

"Harry was always smiling at me, flirting unashamedly, even when he was dating her. I wasn’t the only one either. Everyone knew he wasn't good business. A ladies' man, that one."

Ginny blinks; she is not alone. The year before, when Harry was at the height of his popularity at Hogwarts, everyone's favourite Chosen One, he had drawn many eyes. Ginny had found it bothersome, but she could understand what everyone was seeing: that gorgeous young man with messy dark hair and green eyes, tall and fit, with the added benefit of seeming oblivious to his own charm, almost shy. It had been endearing.

That also was one of the reasons why, when Harry and Ginny started dating, everyone wanted to talk about it. It had been huge news for Hogwarts' standard.

There was no way anyone would believe that Romilda was telling the truth.

"Potter never had any other girlfriend," Crabbe mumbles.

Romilda laughs derisively. "I wasn't his girlfriend, haven't you heard what I just said? He just liked to flirt." She nudges her friend. "Do you remember, Lisa? I told you Harry never took his eyes off me."

Lisa looks terrified, but she nods. "Yes," she confirms in a small voice. "And you—you shared chocolate once."

"Harry dated Cho," someone from the Ravenclaw crowd says, and there's a murmur of agreement.

"I went with Harry to a Christmas party last year," notes Luna. She skips the part where they went as friends.

"I think I saw him snogging a girl behind the greenhouses," Hannah Abbott says.

At her side, a boy nods. "I saw something in the library once."

People start adding comments, their voices mingling in a cacophony. The weirdest part is that Ginny knows no one is lying; people are telling about the times they saw Harry with a girl — only she was this girl, this only girl, but no one specifies that.

"Quiet, quiet!" Alecto sounds annoyed. She looks at Crabbe and Goyle. "Is this true?"

They shrug, lost.

"I saw Potter with Chang at Madam Puddifoot's," Pansy Parkinson confirms, distasteful. "And he went with Loony Lovegood to Slughorn's party."

"That would be Professor Slughorn, Miss Parkinson," chides Professor McGonagall, taking a definite step ahead and placing herself between the Carrows and Ginny. She raises her arm and, almost without a second glance, lowers Neville's still extended arm. "I do not see why a student's romantic life is under scrutiny at this hour of the night, especially a student who is not even here at the moment, but the others have class tomorrow morning."

"This is more important than classes," Amycus spats.

"I remind you this is still a school," Professor McGonagall says coldly.

Amycus' answer is cut by a bored voice. "What is this?" Snape walks, easily opening his way between the students gathered at the door.

"We are trying to interrogate the Weasley girl," Alecto says. "To find out the whereabouts of Potter. She was his girlfriend."

Snape rolls his eyes. "You heard the others. Potter was a lover-boy; that is not surprising considering how his father behaved with his fans." He regards Ginny coldly. "Weasley is not special. I doubted Potter ever shared anything more than a snog with her."

There's an underlying truth in his words that stung her, but before she can react, Snape is already addressing Professor McGonagall.

"Take your students to bed, Minerva. It would not be advisable to be out of the bed at this hour."

Professor McGonagall, who had been frowning at Snape as if trying to figure out something, bristles; there's nothing but repulse in her eyes as she nods.

"Of course, Severus." She turns to Ginny and the others. "Go to the Common Room, now."

And she casts a warning glance at Ginny, who runs to meddle between the other Gryffindor students climbing up the stairs. Her heart doesn't stop beating painfully until she enters the Common Room, and only then she looks back; the Carrows aren't in sight. She doubts this is the last time they will try to question her, but for now, she can breathe easily and give Neville a feeble smile when he looks at her.

"We will watch your back," he whispers.

"It will be fine," she says, with a confidence she doesn't feel. Nothing about her experience at Hogwarts so far gives her any faith that things will turn out well.

And then she catches a mop of black hair.

"Romilda," she calls. Romilda pauses on her way to the stairs.

"Yeah?"

Ginny waits until they are alone to whisper: "Thank you."

Romilda nods. There’s a moment of silence, during which Romilda eyes the stairs as if considering fleeing the scene before she asks: "Did he really break up with you?"

Ginny gulps. "Yeah."

"Oh, I thought—"

"No, it was true."

She waits for some remark; Romilda was truly determined to get Harry the year before, and she had pestered Ginny when she was dating Harry.

"He never actually flirted with me," Romilda says in a rushed whisper. "And you were special to him, I—I spent a lot of time watching him and trying to get his attention, but he never glanced at me... because he was too busy ogling at you."

Warmth spreads inside Ginny; she cannot help her smile. "Harry didn't ogle."

"Yes, all the time. He had it hard for you. Still has, I'd bet." Romilda smiles awkwardly. "Not very womanizer of him."

Ginny's eyes wide. "About that—if anyone finds out that you were exaggerating—"

"I'll talk to my friends. No one is going to say anything."

"I know. I trust you." They look at each other; it suddenly occurs to Ginny that Romilda has no idea, not really, of what could happen if anyone suspects her lie. Romilda never faced a Death Eater. Ginny hopes she never does. "It will be fine."

It's the same thing she told Neville before, but now there's a promise in her voice.

Romilda nods one last time. "Night, Ginny."

"Night, Romilda."

really enjoying all the videos Muslims have been posting of their cats looking like this

when the humans are up at 4 am for suhoor

McGonagall and Trelawny anything but deep disdain is making me laugh, but ..reblogging for the intrigue

the official lesbian hogwarts professor relationship chart

fascinating! I can imagine teenagers who grow up in a confusing political environment having a coming-of-age nonetheless, "choosing sides"..

What are your biggest pet peeves in fics

My biggest pet peeve is, hands down, fandom’s portrayal of the first war, which is almost never portrayed as violent and terrible as the details we get about it in canon. Most importantly:

The First War started in 1970.

Not 1975 or 1976. Certainly not 1978. 1970. This means the war was raging the entire time the Marauders were at Hogwarts, and that they entered Hogwarts a year into the war. It lasted 11 whole years. The whole point is that the First War was much worse than the Second War.

I’ve seen people say things like “The Marauders era is boring because nothing really happens until their later years until the war starts and/or heats up” and say it like it’s complete fact and not something fans completely made up. The idea that the war only “heats up” after Snape’s Worst Memory is so universally accepted despite all evidence to the contrary.

(I’ve also seen claims that the only murders/war crimes committed during the first war were the few explicitly named in the text, which is, again… truly embarrassing analysis.)

The reason fandom has come up with this narrative is entirely to fit the Snape vs. Marauders “bullying” angle. It usually goes like this: Sirius and James were bullies for 5 years, until - conveniently and magically - the war started to “heat up” and get more serious 6th year or sometimes 7th year and therefore they matured (especially James, though the idea of Sirius maturing after the Prank is also common in fic). It provides a neat little coming of age arc for the Marauders, one that does not actually exist in canon.

Because, believe it or not, Voldemort was not going to adjust the trajectory of his war to fit this narrative.

On the pro-Marauders side who still see them as bullies, the fandom can’t reconcile the idea of the war being serious and the Marauders not being serious about it and instead spending their time bullying others. But the war was already heated up, and the Marauders were already serious about the war by SWM - because the Marauders attacks on Snape and others was them being serious about the war, because it wasn’t bullying, it was vigilante justice.

On the Snape fan side, to portray Snape as a victim of bullying, they have to pretend that he's the only person capable of being victimized in the whole entire wizarding world, and people actually being murdered and tortured conflicts with that narrative.

I can buy that the war took a few years to heat up, I doubt it went to daily murders and tortures immediately, but I think a war would not take 6-7 years to escalate. I would guess it heated up sometime the Marauders 2nd year or 3rd year, at latest.

(I often see so many Order deaths happening in late war, per Moody, used at evidence that the war only escalated then, but the Order is tiny and doesn’t represent the casualties in the rest of the population)

Evidence towards the fact that the war was very heated up already by the time of SWM is that Lily calls Voldemort “You Know Who” in her conversation with Snape outside the Gryffindor common room - which means that by that time Voldemort has spread enough terror that people are afraid to say his name.

Also, remember this is already a very violent society. The fact that some pureblood families murder Muggles for fun (Muggle hunting) is apparently an open secret, they murder house elves, and I’ve said before that I think pureblood society practices honor killings which are at least somewhat legally sanctioned (i.e. Merope’s situation).

So a few occasional murders is not going to shake them and is not what this society is going to consider a war.

More evidence is how much the violence has escalated at Hogwarts. Death Eater students are regularly and openly torturing students with Dark Magic "for a laugh" and not being expelled, which is something that doesn't even happen in canon era - the closest we get is Draco cursing Katie Bell by accident, during a specific secret mission, and unlike with Mulciber and Mary Macdonald, no one knows who the culprit even is, so they don’t have the option to expel him. Similarly we have Snape using Sectumsempra so often at Hogwarts that it became known as his specialty and not being expelled, despite it being a near-fatal torture curse.

This fic captures what the atmosphere at Hogwarts would’ve been like really well:

"Did that kind of thing happen a lot in Hogwarts?" Hermione asked, tone oddly flat. "In the seventies?"

“Yes," Sirius said after a long moment. "It did. There were times when it was pretty much open warfare in the halls and on the grounds, between the students everyone knew were on Voldemort's side and the ones who opposed him, or whose families did... I was talking to Pomfrey about it the other day, she says you lot get yourself hexed as often in a few months as our generation used to in a week. And people attacked pets or destroyed belongings all the time. It was one reason a lot of students hid being muggleborn."

There’s the inability to extrapolate from canon details, fandom often portraying the First War like it’s just 30 Death Eaters on one side and 20 Order members on the other.

For example, if a mere ~30 Death Eaters are already committing daily murders in HBP during the Second War, how much violence do you think an army of ~500+ DEs (Sirius says the DEs that came back in GoF is literally nothing to how large Voldemort’s armies were in the First War; Remus says the Order was outnumbered 20 to 1) was committing? Similarly, based on the statistics given in HBP (by February Ron says he’s literally lost count of how many students have lost relatives), by SWM a substantial amount of the student body would’ve had families murdered by Death Eaters (and therefore the students cheering James and Sirius on in SWM is obviously because they hate Snape for being a proto-Death Eater and not for being poor 🙄). There may have even been students themselves that were killed over breaks.

This lines up with Sirius's description of the war:

“You’re scared for yourself, and your family, and your friends. Every week, news comes of more deaths, more disappearances, more torturing... the Ministry of Magic’s in disarray, they don’t know what to do, they’re trying to keep everything hidden from the Muggles, but meanwhile, Muggles are dying too. Terror everywhere... panic... confusion... that’s how it used to be."

There are lots of similar passages about the war, I’m not going to quote all of them, but I suggest people actually pay attention to those details, as well as stuff during the Second War that would apply to the first.

The same thing applies as fandom portraying teenage Death Eaters as only joining once they graduate, when canon indicates they would be Marked at 16, but that’s for another meta. ETA: That meta is posted here.