#*narrative

[corellianhounds]

I know we (rightfully) give Attack of the Clones a lot of grief for Obi-Wan just being able to show up unannounced and for him to just be given the literal biggest state secrets possibly of the entire war, in addition to how this cloning operation has been going on for like a decade without anyone knowing anything or any documentation crossing Mace Windu’s desk, but considering Sifo Dyas or Dooku or whoever was able to somehow erase an entire planet from (allegedly) every known bit of data collection or documentation, it could be argued that maybe Dyas and Dooku were just master forgers and had fake correspondence and reports going between them and the Kaminoans for over a decade now.

It’s not that far of a leap to say they got their hands on some heavily encrypted software on some very expensive computers and were able to imitate different speech patterns and documents and handwriting and official stamps or even holograms and holocalls. As far as the Kaminoans know, all of their contacts are fully aware and in the know about this clone army (because as far as they know, Sifo Dyas is alive and had to have been in communication recently)— When Obi-Wan shows up, it just happened to be at the exact time Dooku was the one supposed to be there in person himself that day. The Kaminoans did greet him as Master Jedi and said he was expected.

Obviously that could have only worked in the movie if Dooku had shown up and we saw him having to keep his cool/sneak around when some other Kaminoans tell him his “assistant” has already arrived, would you like us to escort you to him?

Internally Dooku’s thinking “WHOMST??” but externally he’s keeping his chill while searching the Force for whoever else might be— is that OBI-WAN KENOBI??

It’s soooooo tasty for Qui-Gon’s master and Qui-Gon’s apprentice to meet under these circumstances. Both of them know the other shouldn’t be there right now. They’re both having to play it cool in front of the Kaminoans, and this is even besides the fact Kenobi was there to find the bounty hunter assassin in the first place.

“I didn’t think you… were still as active in the Order,” Obi-Wan says slowly and diplomatically, knowing for a FACT that Dooku left the Order a long time ago.

“I… retired from active service,” Dooku says, equally diplomatically. “I act as a… consultant from time to time.”

“It’s soooo funny how I’ve never heard anything about that or this clone army the Jedi ordered,” Obi-Wan says, making direct eye contact with Dooku and probably trying to read his mind (to no avail). “The one they ordered ten years ago before there was ever any thought of the Jedi being actively involved on the frontlines of what isn’t a declared war. What would the Jedi want with a military in the first place?”

“How old are you, young one?” Dooku deflects in that fake kindly condescending grandfatherly voice. “How long have you been on the Council— Oh you’re just a Kniiiiight, that’s right, okay I see. How interesting. How much information are you actually privilege to, Obi-Wan?”

And this is all happening even before Obi-Wan Nancy Drew’d his way to Jango Fett’s private quarters!

Obi-Wan KNOWS he can’t go rogue right now when he’s that far from his ship on a city surrounded by an ocean and a literal army of clones soldiers (of that one super efficient bounty hunter, whenever it is he finds that out) all apparently under the command (?) of someone who definitely definitely super should not be speaking or doing or ordering anything under the name of the Jedi Order.

Count Dooku (who he doesn’t even know is a Sith yet) could very easily accuse him of being an impostor and have him detained or attacked or killed on sight. Zam Wessel was already established to be a shapeshifter in this movie, so it’s not outside the realm of possibility for Obi-Wan to not be who he says he is (which is kinda true?? since he WASN’T the Jedi ambassador for the Temple there to pick up his to-go order of a quarter-million identical men, with a million more on the way??). The Kaminoans might not even know much else about Jedi and Sith aesthetics besides “Wears robes” so if Dooku pulled a red lightsaber it might not even faze them, since he’d be able to provide more information and correspondence proving he’s the ‘actual’ Jedi anyway

Like can you imagine a fight breaking out not just between Kenobi and Jango, but a team-up of Jango and Dooku against Kenobi? That would have jumpstarted some of this clone army business a lot earlier in the movie and actually addressed what should have been the biggest conspiracy, coverup, and militaristic move of the MILLENNIUM

[grunklebongrip]

When a fic doesn’t fit my head canons but it’s well-written

[semiohazard]

i like how its becoming apparent in the new chapters that kris is actually pretty emotional and demonstrative (and has always been) and they just have a player-induced flat affect that makes people think they're reserved or aloof or whatever. can we get more of them being an impassioned little weirdo

[stealingpotatoes]

i love OCs. like this is my emotional support dressup dolly that i beat the living shit out of

[mintaii]

drops them in a gothic horror au

[bogkeep]

ok so i think that my favourite fantasy subgenre is The Inherent Tragedy Of Being Born Into Royalty. which mostly means that i like to read about gay princes but with some nuance

[batsandbirdsandothers]

Yep, April 27th is Jason Todd’s death anniversary:))

[biggest-gaudiest-patronuses]

sometimes nifty characters come from lousy media, but they still deserve a loving home! and that's where fanfic comes in

[vulpinesaint]

quiz enjoyers! i am now inviting you to come create something in my workshop❕

[vivsinkpot]

Zoom In, Don’t Glaze Over: How to Describe Appearance Without Losing the Plot

You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”

We don’t know them.

We’ve just met their tropes.

Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone ��� to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.

So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.

1. Hair: It’s About Story, Texture, and Care

Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?

Good hair description considers:

Texture (fine, coiled, wiry, limp, soft)

Context (windblown, sweat-damp, scorched by bleach)

Emotion (does she twist it when nervous? Is he ashamed of losing it?)

Flat: “Her long brown hair framed her face.”

Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”

You don’t need to romanticise it. You need to make it feel real.

2. Eyes: Less Color, More Connection

We get it: her eyes are violet. Cool. But that doesn’t tell us much.

Instead of focusing solely on eye color, think about:

What the eyes do (do they dart, linger, harden?)

What others feel under them (seen, judged, safe?)

The surrounding features (dark circles, crow’s feet, smudged mascara)

Flat: “His piercing blue eyes locked on hers.”

Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”

You’re not describing a passport photo. You’re describing what it feels like to be seen by them.

3. Facial Features: Use Contrast and Texture

Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.

Things to look for:

Asymmetry and character (a crooked nose, a scar)

Expression patterns (smiling without the eyes, habitual frowns)

Evidence of lifestyle (laugh lines, sun spots, stress acne)

Flat: “She had a delicate face.”

Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”

Let the face be a map of experience.

4. Bodies: Movement > Measurement

Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?

Ask:

What do others notice first? (a presence, a posture, a sound?)

How does their body express emotion? (do they go rigid, fold inwards, puff up?)

Flat: “He was tall and muscular.”

Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”

Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.

5. Let Emotion Tint the Lens

Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.

In love: The chipped tooth becomes charming.

In rivalry: The smirk becomes smug.

In mourning: The face becomes blurred with memory.

Same person. Different lens. Different description.

6. Specificity is Your Superpower

Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.

Examples:

“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”

“Her nail polish was always chipped, but never accidentally.”

Make the reader feel like they’re the only one close enough to notice.

Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.

Zoom in on the details that matter. Skip the clichés. Let each description carry weight, story, and emotion. Because you’re not building paper dolls. You’re building people.

[wardensantoineandevka]

is that piece of media actually bad, or is it just not following the blueprint you projected onto it? is that work actually not good, or are you just demanding something from it that is absolutely antithetical to its themes, genre, tone, and narrative goal? is that story actually poorly written, or do you just dislike that it is not the specific things you wanted from it that it never set out to be, never was, and never is going to become? is it actually bad, or is it actually well-executed and you just dislike the story it chose to be because it isn't catering to your specific desires and expectations?

[higgsbison]

I've been thinking of the "Can Granny Weatherwax beat Bugs Bunny" question and this is my full take for Discworld characters:

Vimes - Cares too much, too easy to piss off. Has the innate chase instinct that makes characters run into walls with realistic tunnels painted on them. Might get to arrest Bugs Bunny but the beast will just slip out of the handcuffs to help him lock them, then walk out of the jail cell to have a union mandated coffee break.

Ridcully - Classic hunting season scenario, but has enough charisma to probably still get a few good shots off before the inevitable.

Rest of the wizards - No survivors, only Bugs.

Carrot - The intense near-magical narrative aura of well meaning innocence should make him immune, Bugs will likely be forced to be the villain of the episode.

Lord Vetinari - Flattened by a comically large anvil in the first few minutes of the episode, unclear if it was all a part of his long term strategy or not.

Moist - Has the 'lovable trickster getting away with it' energy, but nowhere near Bugs level. Already fell for the "old lady who swallowed a fly" scenario with the stamp slugs once, won't fare any better here.

Death - Definitely one of those "character is trying to avoid death" episodes, would go back and forth. Might actually get to end Bugs but his spirit will reappear in Death's domain and ruin his garden.

Nanny Ogg - The ultimate in anti-Bugs technology, a gleefully annoying old lady who doesn't give a fuck and definitely won't be the first to instigate the plot bearing conflict. This is a full sweep, he's the episode antagonist.

Granny Weatherwax - Too win-motivated to not lose. Would have to break the story to have any chance. Might do it.

Magrat - Will have sappy ideas about helping the poor animal which honestly has the 50:50 chance of either getting slapsticked or Bugs ending in a ye olde stroller&pacifier gag.

Colon&Nobby - Designed in a lab to be totaled by Bugs Bunny.

Tiffany Aching - A child that also has a large pan that is the perfect thing to hit someone over the head with and make a BOIOIOINGGG sound, so great odds.

[lgbtlunaverse]

To me the most fun part about fix-its is placing dominoes.

Tragedies often consist of escalating series of actions and circumstances which, in isolation, were not clearly leading to the tragic end but form a chain of cause-and-effect directly towards it in hindsight. In equal but opposite fashion, I love starting with small inoccuous changes to canon that in themselves do not obviously fix everything but start a new chain that leads to a better ending.

It's kind of impossible for fix-its to feel fully natural– the reader by definition knows what the original ending was and that this ending will be happier because the writer wants it to be– but it is possible for them to not feel contrived. A big deus-ex-machina, or a character breaking with their pre-established tragic flaws to suddenly make all the "correct" decisions almost always feels unsatisfying to me.

But a few carefully placed small domino pieces slowly knocking over bigger and bigger tiles until the entire story has radically changed? That's a lot more fun.

It recquires the author to both correctly identify the original chain of cause-and-effect and understand the characters well enough to know how they'd react to different circumstances. Because if the story feels like it's fixing the wrong problem or the characters don't act like themselves the magic is lost. But when it works? When it clicks and the reader sees the domino chain laid out in front of them? It's beautiful.

[ratsoupee]

Friends in every universe

[stealingpotatoes]

ok what if, thanks to giving birth to two quarter-force/eldritch skywalkers, padmé wound up as a force ghost (but only said eldritch skywalkers could see her)

(commission info // tip jar!)