#//And coming up with some plot ideas.

[unboundtravels]

🎲 yeet! i know i've yet to respond to your starter but i wanna see more possibilities for the future!

𝑀𝑢𝑙𝑡𝑖𝑚𝑢𝑠𝑒 𝗥𝗼𝘂𝗹𝗲𝘁𝘁𝗲

send  🎲  and i’ll place our muses into this generator and post the resulting muse combinations and a few ideas on how to make it work! 

 Sorry, this one took so long! I featured everyone from the Academics, Warriors, and Protectors category. Mostly because I wanted to kind of make it as even a split as I could, but we ended up at 20/9 for our muse split. I included every Doctor from One to Pink since we just started writing together. I didn't include the Travelers list since we've got that first starter. Hopefully, these pairings catch your eye! 

The Pink Doctor & Adela Song

When Adela and a hunting party head to The Amazon Rainforest on the trail of a mysterious creature leaving a trail of bodies in it's wake, they come across a mysterious figure cloaked in bright colors. Also on the trail of this mysterious creature— The Doctor and Adela Song start as allies but end up going head to head when they finally corner the creature. A being of pure and total invisibility, arriving on Earth when a transport ship experienced brutal solar winds that shredded up it's cargo hold. Surviving the fall to the planet, the creature is not of this world and needs to be taken to a suitable environment— but when the band of monster hunters opt instead to deal with it while they have the chance... they find an army of one between them and it. 

The Bond Doctor & Marlene Whittaker

Hired as the private security force for a research base in sweden that's experimenting in the future of removing air toxins from the atmosphere, Marlene and her security force find that things get complex when UNIT arrives in response to the United Nations' inquiries toward the project. In addition to the top secret military squad arriving suddenly and seemingly out of nowhere— UNIT's scientific advisor, an eccentric chap callled The Doctor, arrives with a seemingly aggressive attitude toward the project. Things get even more bizarre when the security force, Marlene, The Doctor, and several members of UNIT personel are transported several thousand lightyears away... where they discover the horrifying truth of what's really been cleaning the Earth's air...

The Goth Doctor & Alessandra Iannucci

Serving on a NAVY Vessel called the Atlas, Alessandra and her crew find themselves lost at sea. By all accounts, they should be somewhere near the pacific ocean, but they find themselves in unfamiliar waters with a foreboding fog surrounding them. Things don't get easier when members of the crew start going missing across the ship. A stranger turning up, revealing himself to be The Doctor, doesn't bring any easy answers. Especially when he claims that it's the fog causing these dissaperances... and the truth of where the vessel is is even more horrifying then any of them realized.

[ashleys-doodle-corner]

ACT 2 "You're... me?" "That's right, stardust!"

You know I've been drawing Loop as their Siffrin form so much that it's got me thinking. I've read and seen so many fics and artworks of Loop eventually getting back to looking like their old self, but I don't think I've seen any so far of Loop already being a mirror copy of Siffrin. So uh, yoink?

ISAT AU where the game plays out the same way (plot-wise at least) but Loop looks like Siffrin the whole time and while Siffrin is extremely perplexed that there's another him, he's still gotta accept their help because how else are they supposed to escape the loops? Good ol' Loop is here to help, helpful friendly Loop!

Siffrin is going through it still but Differently.

[zunaki]

Wangxian in public being disgustingly in love and the Juniors on a matchmaking mission

[bonefall]

Hey, what makes a character a 'plot device but not a character'? And how do you not do that? I'm trying to do it on purpose but also I need to still make them interesting because it's on purpose, yknow?

A good skill to pick up is to learn to criticise criticism itself. A "plot device" is simply a thing that moves the plot along, it's a neutral literary analysis term! Usually, when people are angry that "a character has been used as a plot device," it doesn't mean they hate plot devices. It means they're gesturing at something deeper.

Runningwind and Bumble are equally plot devices in their deaths. They are both killed by the antagonist to escalate political tension. Runningwind is rarely "accused" of just being a plot device, and yet, we're talking about Bumble for the same thing.

So, why?

Well, Runningwind is just a background character, but in life, he was a part of the community. He was characterized as impatient but responsible. Yet, he wasn't SO important that he died with a bunch of unresolved plot threads.

He is mostly an extension of the entity of ThunderClan. His killing by Tigerstar, and the fear and paranoia that settles on the group after this, feel like a progression of the story insteas of something forced.

Bumble, on the other hand...

Is hated immediately by Gray Wing, when she's established as Turtle Tail's friend. Bumble's abuse at Tom the Wifebeater's hands invites even MORE investment. The rejection is shocking and upsetting. There's a story there about our main characters being imperfect; jealous, bigoted, and judgemental.

But, she is simply killed off. Everything they set up for this character is gone with little personalized fanfare. It's not a tragedy with a lesson about cruelty, or something anyone regrets.

It's just... plot. Gray Wing whinging that no one will like his shitty brother now that his body count is 2.

More than that, in the discussion of women in particular, "Fridging" was coined to give a name to the way women characters often don't get their stories told at all. There is a CULTURAL trend of female characters facing disproportionate violence, for the sake of advancing male plots.

Bumble has a lot going for her. Petal had a lot going for her. Turtle Tail had a lot going for her. Bright Stream had a lot going for her. When they died, they took their potential with them.

It's not always wrong to kill off a character of high potential, mind you. In Gurren Lagann, Kamina's death is sudden and shocking, leaving a massive hole in the hearts of the cast that never heals. Grappling with that loss, but also letting his memory fuel them, is a major theme of that story.

All that to say... there's no formula for avoiding it. You've gotta identify what the deeper issue is, in your specific narrative.

I can't say for certain what that will look like for your story, but here's some things I keep in mind;

When you make characters who exist to die, make sure they're people before you axe them.

Ask yourself; what about them does the cast miss?

If they just miss them because they were (pre-existing relationship), go back to the drawing board.

Fluttering Bird as an example. Who was she? Dead sister. Why do they miss her? Dead sister. No traits until after her death.

Runningwind was short-tempered and helpful. Kamina was a valuable leader who made people believe in a brighter future. Swiftpaw was fiesty and desperate to prove himself. The better characterized, the more profound the loss usually is.

If this is a female character who is dying just to serve the plot, be aware of cultural bias and tropes. How is the gender ratio looking in your cast? Is this happening disproportionately with your girls?

Note how Quiet Rain's litter had both a boy and a girl, but the girl was chosen to be "weaker" and wither away.

And how most of the time in DOTC, whenever a man had to be upset, a girl would get killed for it.

If you ever feel like the character on the chopping block is NOT a full character, ask yourself why it needs to be a character at all. You don't need to spend narrative time building out someone when a literal object of high value might suffice.

"My sister died when I swore to protect her and I can't face my family" = Old. Tired. Ive seen this.

"I lost my heirloom sword when I swore to protect it and I can't face my family." = Fascinating. Why was the sword so valuable? Will they really not take you back? How did you lose it?

When you do kill off "high value" characters, try to make sure you're not leaving too many plot threads hanging. Or at least make a point of how they will never get closure.

[secriden]

ok OK HEAR ME OUT THO-- what if... because Liu Qingge was never meant to survive past the qi deviation in PIDM, he's the only non-transmigrator character who can see the influence of the system on the world?

i'm thinking it plays out something like this: lqg emerges from the Ling Xi caves to find he can see these... strings of what looks like energy flowing around. he can't really tell what it is, and at first he thinks its a new quirk of his latest breakthrough but when he rushes to help defend Qiong Ding Peak from the demon invasion, he realises that certain people have these auras of energy around that are especially pronounced. like he's mostly preoccupied with fighting off the demon invasion but distantly he notices that lbh has this golden glow (ie. protagonist golden halo) around him although its threaded through with dark red energy. curious. sqq also has this inexplicable dark energy around him that occasionally flashes bright blue when he seems to freeze and go absent minded. even stranger.

when mqf comes along, lqg asks about possession and mentions the strange energy but mqf assures him that they'd already tested it and that there's nothing wrong aside from the new poison in sqq's system. yqy also acts as if everything is normal even though everything is clearly NOT normal because sqq is acting very weird. but also all his weirdness happens around these pulses of blue and lqg starts wondering sqq's being forced into acting the way he is.

(yqy also has a dark aura about him although its different from sqq's. it's also very reactive towards sqq like they're tied together somehow and lqg finds it very disturbing.)

in this situation, i think sqq and lqg would have way more interactions because lqg's suspicious of sqq but also worried?? cuz he can tell that sqq is being manipulated/affected in some way. he starts hunting for monsters/beasts that help with fighting off possession or curing curses but none of them seem to have any effect. he notices the almost unnatural way sqq will act in contrary ways and how they're always attached to that same pulse of blue that only lqg can seem to see. he notices the weird way the aura's clash when sqq interacts with lbh or yqy and starts feeling protective because he can tell sqq is trying to cause as little harm as possible.

he starts wondering why no one else seems to care that something is clearly not alright with sqq. even if they can't see the aura and the energy bursts, surely its obvious just from what they know about sqq. he starts to become angry. then he becomes determined. because if no one else can see that some unknown entity is hurting sqq, then its just going to have to be lqg that saves him.

[lord-squiggletits]

One of my favorite parts of phase 2 (and indeed one of the few moments I resonated with IDW Prowl) was when the neutrals were coming back to Cybertron and Prowl said that he refused to let Autobots be pushed aside and overruled after they were the ones who fought for freedom for 4 million years (the exact wording escapes me atm).

And I mean, that resentment still holds true even once the colonists come on bc like. As much as it's true that Cybertron's culture is fucked up, and as funny as it can be to paint Cybertronians as a bunch of weirdos who consider trying to kill someone as a common greeting not important enough to hold a grudge over.... The colonists POV kind of pissed me off a lot of times, as did the narrative tone/implications that Cybertronians are forever warlike and doomed to die by their own hands bc it just strikes me as an extremely judgemental and unsympathetic way to deal with a huge group of people with massive war PTSD and political/social tensions that were rampant even before the war?

Like, imagine living in a society rife with bigotry and discrimination where you get locked into certain occupations and social strata based on how you were born. The political tension is so bad there's a string of assassinations of politicians and leaders. The whole planet erupts into an outright war that leads (even unintentionally) to famine and chemical/biological warfare that destroys your planet. Both sides of the war are so entrenched in their pre-war sides and resentment for each other that this war lasts 4 million years and you don't even have a home planet any more. Then your home planet gets restored and a bunch of sheltered fucks come home and go "ewww why are you so violent?? You're a bunch of freaks just go live in the wilderness so that our home can belong to The Pure People Who Weren't Stupid And Evil Enough To Be Trapped In War" and then a bunch of colonists from places that know nothing about your history go "lol you people are so weird?? 🤣🤣 I don't get why y'all are fighting can't you just like, stop??? Oh okay you people are just fucked up and evil and stupid then" ((their planets are based on colonialism where their Primes wiped out the native populations btw whereas the Autobots and OP in particular fought to save organics. But that never gets brought up as a point in their favor)) as if the damage of a lifetime of war and a society that was broken even before the war can just magically go away now that the war is over.

Prowl fucking sucks but he was basically the only person that pointed out the injustice of that.

And then from then on out most of the characters from other colonies like Caminus and wherever else are going "i fucking hate you and your conflicts" w/ people like literal-nobody Slide and various Camiens getting to just sit there lecturing Optimus about how Cybertronians are too violent for their own good and how their conflicts are stupid, with only brief sympathetic moments where the Cybertronians get to be recognized as their own ppl who deserve sympathy before going right back to being lambasted.

Like I literally struggled to enjoy the story at multiple points because there was only so much I could take of the characters I knew and loved being raked over coals constantly while barely getting to defend themselves or be defended by the narrative so like. It was just fucking depressing and a little infuriating to read exRID/OP

[sesamestreep]

“requiem for methuselah” crazy ass episode for many reasons. Kirk is being fully insane, like I don’t actually think, even controlling for how quickly and easily and readily he seems to fall in love with anybody at the slightest encouragement, that he’d go that bonkers for that android woman he just met while everyone on the ship was this close to dying, but that’s neither here nor there, because in the background you’ve got an equally but much more subtly insane episode for Spock, who extremely uncharacteristically admits to experiencing an emotion (or nearly experiencing, whatever) and that emotion is ENVY of all things. And then spends the rest of the episode warning Kirk away from this new love interest (something that doesn’t usually happen, even when Kirk has very inadvisable love interests) and is, in the end, the person who accurately identifies that Rayna’s competing love for Kirk and Flint is ultimately what overwhelms and destroys her with the most killer line in maybe history???

And then to wrap it up we get an equally uncharacteristic sort of denouement scene (TOS loooves to cut an episode off right after the actual climax, leaving little time for falling action or character reflection, or to stick a sitcom-y button on the end where the gang all smiles and laughs at their misadventures and everything resets to zero, which is not a criticism, it’s just the style of that era of tv, honestly) where Kirk is literally miserable over Rayna’s death (again, kind of unusual for a lot of his love interests, he tends to be able to move on pretty quickly) and Spock goes to see him and he falls asleep right in front of Spock (also odd) and then when Bones comes in to give the final word on Flint, Spock waves him off from waking the Captain (tender) and Bones gives him that awful speech about how it’s sadder that Spock can’t even imagine the love Kirk felt for this random android woman than it is that Kirk lost her in the first place (debatable but also rude) and how his great tragedy is that he can’t love at all like they can and how all he wishes is that Kirk could forget about all of this and move on. AND THEN, to have Bones leave and Spock go over to Kirk and very gently, tenderly, reluctantly touch him and put his hand to his forehead and tell him to forget and HAVE THAT BE THE END OF THE EPISODE??? What am I supposed to do with that??

[piromina]

huge props to marinette for spinning up that lie so fast and on the spot, too. I thought I was good but damn. of course she must have had a general idea of what she was going to say to adrien beforehand going off of gabriel's "make me look good" and her own love telling her that the truth would hurt adrien even more, but that's just a very vague idea. she could not have possibly spun up that entire story of a lie in her head beforehand with all that was going on - dealing with all the truths coming in one after the other, the crying, the emotional trauma, getting the kwamis back -

and of course, there's adrien. he is one of the highest things on her list of priorities, his safety being the first thing she needs to take care of. the problem is, she doesn't know how. the only thing she can do in that situation is lie. a small lie. just one to make it better for now and then she can make it a long-term lie later. make sure no one else finds out.

and once she started telling the lie, once the first words were out of the mouth, it was all improvisation. her next words showed up in her head as she was going, spinning up a believable story, just good enough to be taken as the truth. she rambled - a rookie mistake for liars - but you couldn't blame her. she's a professional liar, almost, with her superhero identity, but this one is different. just one hour after learning the truth she had to cover up all this with no warning beforehand.

she couldn't tell adrien the truth. but she couldn't do much to comfort him either. ladybug couldn't tell him something only marinette knows.

she had to lie. she had to come up with something on the spot. those words would haunt her for the rest of her life - that lie was all she could think about for the next couple of months because she had to make it work. she had to keep the truth and make everything work out. it wasn't a big deal. she just had to tell adrien something, anything that would comfort him! what would comfort him about his father? what would convince him that he was a good guy this whole time? that he was a, a, a hero! yes, she would tell him that. it was a white lie! she wasn't a bad person! she just had to tell adrien that his father was a hero so that he would never have to know the truth and suffer like she did. he was a hero.

was.

once that word came out of her mouth, there was no going back.

[anghraine]

Aww, Ash admitted to me when we were discussing Star Wars opinions that she's not only thought about these things before, she's actually really feeling like using her advanced creative writing degree to write ...................... fanfiction, and has actually done so in the past.

me, shoving my 67 SW fanfics on AO3 under the bed: Oh hey, awesome! That sounds really interesting.

[deoidesign]

Can you make a tutorial on how you world build and make ocs? I can't seem to make any people in my brain, but then when I try to come up with environments jobs, beliefs and little details to slowly come up with someone, I think: well I don't really know how people have influenced the world- it's a weird loop

To be honest, I don't think I can! Writing is an extremely personal process. The way I write is directly related to how I process things, what I find important in stories, years of my own analysis of my and other's writing, etc... The way you write will be unique to you, as well. But I can explain how I personally think of it.

The short answer:

Write. Write anything and everything, it's a tool to explore your ideas. Analyze your own writing, and write more. Then, as you discover which ideas you want to develop, write more to explore them more. You won't know what you want otherwise!

The long answer:

I think this kind of loop is common. It's easy to feel like everything needs to be done "at once," because our job as writers is to make elements logically fit with each other for our readers. But as you've discovered, developing multiple elements simultaneously isn't really possible, or at least is extremely difficult.

Personally, when I think of writing, I break it into three major elements; characters, world, and plot. As much as possible every scene explores one or more of these, and as much as possible these three things tie back into what I personally consider most important: theme.

Everything I do is in service of the themes I want to present. Without them my events feel aimless. It can take a while to discover them, but they're the core of my work. You will have to discover what you feel is the core of yours. Analyzing other media helps with this too.

Concepts in your brain exist in a state of infinite potential. But when you start writing you have to start making choices, which removes potential as you move forward... But you have to move forward anyways. If there's ideas you want to explore later, you can always explore them later.

What this ends up meaning, to answer your question, is that I don't think of my characters as "people in my brain" or my worlds as something people have influenced... Not at their core, at least. They are tools that I use to represent specific ideas. Obviously they're also my blorbos, but mostly they're serving a specific narrative purpose.

So above all else... Write. Write, and discover what you're writing about, and then start over and write with that in mind. Keep doing this. But you have to write!

[watery-melon-baller]

hellooo so i'm writing a slice of life toh college au (set in a modern au, no boiling isles) and i wanted to ask for like. suggestions of things that should happen. I've already got a bunch of ideas but i wanted to ask other people if they wanted to see anything (and also I'm bad at coming up w/ slice of life stuff lmao)

[spoopy-nevermore-dump]

Hey pssst hey. Have you ever considered: Montada?

I hate it, and it nearly killed my hyperfixation

But I understand my opinion on this may affect others, and many may be hurting from this episode soooooooooo

Art requests open

[5516-minutes]

two charlos AUs i'm chewing on:

pacific rim: carlos is a talented jaeger pilot who's been drift compatible with every pilot he's paired with which and charles is a scientist who wants to study this + the effect that having so many partners has had on carlos' psyche

when the day met the night: charles as the sun and carlos as the moon and how they meet during sunset and daybreak and whenever they can in between

[housepilled]

season 1 isn't my favorite season or anything, but it has my absolute favorite portrayal of house by far. he goes to patients' lacrosse games, does their prenatal care, talks with and follows up with them when it's completely narratively unnecessary (but in a good way; i just couldn't think of a less pejorative description). he's even kinder to his team. and best of all, he explains things — takes the time to argue for a risky treatment and has a clear basis for treating rather than testing. he's more grounded. he still does all this later in the series, of course, but as the seasons go on he seems more and more ashamed of his kindness and humanity. i think as the show progresses, it gets too used to itself, used to the fact that house just says rude things and does risky treatments because that's just "who he is". i am totally willing to make the argument that he gets flanderized in a way.

while i love later-seasons house, don't get me wrong, my favorite is always going to be the house who is the most grounded in reality. he's still scared of it, but he acts like a human. and that is who house really is to me — not the layers of sarcasm, bigotry, outlandish subplots and unrealistic procedure, but the guy who grumbles and groans about doing his job but secretly loves it and has the show making efforts to expose that secret. so yeah season 1 house supremacy

[beans-and-shet]

Life goddess and death god au concept cause I can and their personalities suit it

[buck-up-buck]

Buddie Begins Episode

OKAY. If you have seen my Bingo Card for S8 (here), then you will have seen my proposed Buddie Begins episode.

I am here, to explain myself, and go into more depth regarding my ✨vision✨

If anyone here is in the Grey's Fandom, you will be more than aware of the Japril Movie storyline they did (which, 11/10 I love so much), so I am envisioning the same kinda vibe.

I did discuss this with my love @thetangycheesemanwithaplan last season, but obviously it was short and they crammed in a lot, so this season, I expect, more.

NOW, don't get me wrong, I am a hardcore BuckTommy shipper. Kinkley, BuckTommy, every thing, I am here for it. I do not want Tommy to go anywhere... but... I wouldn't be opposed to Buddie happening.

It's been a while since I have had a ship to sink my teeth into and Buddie will forever hold such a special place in my heart. I do not want BuckTommy to break up, but, I also would love Buddie to happen.

So basically, I am gonna be heartbroken/happy either way.

NOW, onto my Buddie Begins episode.

I want, a realisation, and then, FLASHBACKS. I am talking, from season 2 onwards flashbacks- with Buck's perspective of Shannon, and Eddie during Buck's bombing recovery, the two during the lawsuit era, Buck helping Eddie after the snipper, Eddie and Chris during Buck's coma, just, so many flashbacks.

I want to see outside perspective POV's of their friendship, I want present snippets of whoever has their realisation talking to Hen/Bobby about it.

I want a Buddie story. I want the writers to recognise what they have built over these past few years and make something out of it. Picture your favourite Buddie edit on TikTok, but as a full 45 minute episode. I want the producers to give us a movie poster like Grey's did, make a spectacle out of Buddie coming to life.

Some may say this is a copy of Grey's, but this is done in so many shows. So many shows have flashback episodes showing people's relationships and how they got to where they are. (special mention to the flashback episode in Castle of them reflecting on their relationship when Kate is legit about to die).

You want Buddie to be big, this could make it big. ABC have the potential to take one of the best slowburn relationships created in a TV show and actually give it to the audience, and I feel like if they do it, they need to do it properly.

I have not been pining over Buddie for all these years for the writers to not make it the biggest thing.

Think about it. Cause I am. A lot. All the time. More than I should. I am writing this while in work, because this is on my mind and I think it should be on your mind too.