#//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.

[hazelnootnut]

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.

[kerizaret]

Happy (not) Tsukasa4 final day (I dropped out of t1k at night 💔) btw did I ever tell you Bakuno Reki is Tsukasa's personal knight in the polysho royal au

[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??

[greyedian]

MAN I'm seriously so sad about season 2. Bc I wish act 2 had the same emotional impact on me as it appears to have on so many others. But rn I'm just somewhere between unable to care and actively annoyed by some of those writing decisions. Seriously the more I think about it the less I like it.

[vaguely-concerned]

Origins is of course the DA game most closely in conversation with and playing around with Tolkien (right down to the walking talking poetree haha) -- and even more so than most works in the larger western fantasy tradition derived from Tolkien's work that DA:O also hails from and owes a lot of its Stuff to, what makes the game so great to me is that it's doing so very deliberately, and is subverting and deconstructing those tropes and entrenched ideas in some very interesting ways without at all denigrating what it's commenting on. (it doesn't have the almost disdainful undertones of the vein of fantasy that seeks to make the world more 'realistic' ala the more tedious reactions to G.R.R.Martin's work, for example, despite having the darker fantasy bent to it.) among other elements it adopts, what I find the most fascinating is the choice to use the same literary device/conceit Tolkien did in ostensibly only having in-universe biased sources and works to deliver the world through (which I feel is an underappreciated thing about his approach but is part of what makes his world so enduringly compelling and real-feeling -- the feeling of real scholarship devoted/applied to a made-up world. the grounding effect of a good diegetic footnote about source criticism, truly).

many things to be said there, and I'm glad each following game has taken on different perspectives and lenses and traditions to view the world of Thedas through because if you stick with that one too closely for too long I fear we could teeter precariously close to Pratchett's famous and bitingly accurate accusation of most modern fantasy of that era just being about rearranging the furniture in Tolkien's attic lol. and while you could accuse DA2 (my perfect wife who has never done anything wrong in her life to be clear) of many things, that's not one of them, they are pulling on some completely different strings for that one and both the game and DA overall is better for it, to my mind. as so many things in this series: worth staying with and exploring for an installment even if it might get stale if all of it was like this! people are understandably sad about the elements from previous games that they liked which were lost along the way, but that capacity for reinvention is to my mind a huge strength of dragon age as a whole.

(I think Veilguard is coming in as a close second in Tolkien conversation-ness if only in outlining/revealing the worldbuilding that indeed may have been planned since DA:O around the animosity that SHOULD by all rights exist between dwarves and elves in this universe (as per Tolkienesque tradition standards). but doesn't really because you see: politics and the many pitfalls of conservation of knowledge over the ages. our ancestral enmity got semi-intentionally lost between the floorboards of history and you know what. maybe for the best. the humans are already up to so much shit you gotta keep your eyes on them at all times you can't be brawling with each other in the deep roads while they're still around getting up to their nonsense or they'll just pile up even more of it)

[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)

[bookshelf-in-progress]

Long-Running Story Ideas That I Very Much Wish I Could Actually Write

Original Fiction

Shadowstruck

Lily Between Worlds

Cardinal's Map

Paper Wings

A Beautiful Tomorrow

Henry and Mouse

Starfall

The Dust That Falls from Passing Stars

Cinderella retelling

Starfall novel

Arateph

The Princess and the Pea

Rapunzel

Snow White

Cinderella

Half-baked ideas for Little Red Riding Hood, The Goose Girl, and the romance of Auren's parents

Other Fairy Tale Retellings

The Tattercoats Retelling

Traditional East of the Sun, West of the Moon retelling

Political Goose Girl retelling

The Servant's Crown

Twelve Huntsmen retelling

[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