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lunahearts · 11 months ago

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Soooo I read all of Dungeon Meshi in this past week and I have many thoughts bouncing around in my brain and I think the only thing to do with them is some AGGRESSIVELY CLOSE READING of a scene I wanted to come back to and try to understand better.

So: I want to talk about chapter 28

This entire section of the story is something I feel like I am going to want to come back to a lot, because its such a transitional time and I feel like there are a lot of themes/ideas that I wasn't fully aware of during my first reading, and stuff I missed because of that.

One of the biggest things I have been turning over in my head is... hey, what was UP with the Marcille/Falin bath scene? Maybe it was because I was already primed to pay attention to stuff with them going into the story, or because I had already seen a couple of panels out of context. In any case, it really kind of stuck out to me as being very short but also VERY intense, while also being... hard for me to define? Some part of the nature of the intensity felt like it was going over my head.

I wasn't sure that revisiting it would help with this right away, but to my surprise, it actually WAS a lot easier for me to follow and understand when I went back to it. So I want to just do a close reading of That Scene and some other parts of the chapter & context around it all, because I think it offers insight into Falin & her relationships, and what purpose this chapter serves within the story as a whole.

So first of all, I think it's interesting that the scene starts with Marcille bathing Falin.

It feels very caring in a more platonic, less charged way then what will follow.

Marcille goes from this caretaker mode to joining Falin in the bath, and then of course we get the first of The Panels

(as a small note, I only noticed when revisiting that Marcille is using the rest of her Kelpie soap in the bath. Isn't that just the most heartwrenching little detail. Augh)

Anyway, one of the first things I thought was interesting going back to this is how much it reminded me of the very different sort of intimacy that came just before it - when Laios and Marcille assembled Falin's bones.

This is such a beautiful and intimate sequence, and something about Marcille examining Falin, whole, after the fact... I can't imagine there are not some echoes of those bones in Marcille's mind. The action seems more startling/intense for Falin at first, and maybe part of that is because Marcille has already experienced this level of intimacy with Falin's body in a way Falin herself wasn't a part of.

This panel in particular I think is a summation of the difference in the experience for them. This looks like... near orgasmic for Falin tbh, and Marcille is very focused on the actual like practical part of what she's doing, seemingly completely unaware of the Effect she is having on Falin.

The whole short sequence is focused on this intimacy that Marcille initiated seemingly without fully being aware of what she was actually doing. And once Marcille is satisfied, she is also the one that ends it, sitting back in the bath and moving out of Falin's proximity. All on her own terms, and for her own ends.

HOWEVER... Falin doesn't just let things go.

Instead, she returns Marcille's attention. First, by asking after her wellbeing:

Marcille, of course, deflects (there will be a lot of that in this scene).

But Falin doesn't let it go.

Falin is not a confrontational person. She likes to keep the peace. In this context, and in context of the way that Marcille was the one to come into Falin's space initially, the way that Marcille controlled the initial intimacy... this is striking. I genuinely think that these three panels might convey one of the most assertive actions Falin (as herself) takes in the entire story. One of the only things that outdoes it is the fucking INCITING INCIDENT OF THE WHOLE STORY.

I'd also like to point out here that this action of Falin's also parallels her resurrection by Marcille & Laios. It's is also a forbidden magical action done to save someone(s) she loves, and its something she does TO them, that they are not fully aware/able to react to until its done.

Anyway, back to the bath scene. Falin is taking action here and asserting herself. And how does Marcille react?

She flips out!! She rejects it! She tells Falin that she isn't supposed to be acting like that.

It's a very distancing response from Marcille, and also one that puts her back in that caretaker mode from the start of the scene. She also puts even more distance between herself and Falin by sinking into the water.

Falin doesn't give up though! She continues to assert herself. She's okay, she is allowed to chose to do this.

And Marcille continues to push her away. It looks to me like she only starts to relax a little once she fits Falin into a role she can better define and control. You're a patient, you're recovering, I understand this fact and you don't. Let me take care of you.

But, for a third time, Falin pushes back.

I don't think it’s coincidence that this is where she opens her eyes. She asks directly about the thing that they have both been dancing around:

The resurrection spell. The fact that Falin KNOWS about this, at least in part, recontextualizes the quiet battle for control between the two them. They both know at least some part of the truth. Marcille wants nothing else then to ignore it. Falin wants to be able to talk about it. Marcille's blatant refusal to give her those answers, I think, is what keeps them out of sync - intimate only ever in one direction at a time, never fully together.

And of course, even when directly confronted, Marcille refuses to engage with the truth.

This moment being on the bottom of the page is notable too. There's a beat here. The last panel holds on Falin's face. The reader reaches the bottom of the page, and they are held here for a beat as well, with Falin. It's not quite a rejection yet. What Marcille says isn't directly an answer to Falin's question, but it is a response. A valid one, even! Falin wasn't just asking the question after all, but struggling with guilt that Marcille has every reason to want to reject.

But then you move on the next page, and...

Marcille isn't actually addressing the question at all, not directly. She's deflecting, again. Oh we had a ~difficult time~, there were a lot of "tough situations." Even though she and Falin both know about the resurrection, and Falin has made it clear that she wants to talk about it, Marcille pushes away from the actual topic. She keeps things broad and indirect.

She offers the smallest gesture to Falin - nothing more than a whisper of 'don't worry about it I won't get in trouble' (even though Falin's concern was never just about Marcille getting in trouble).

Marcille then continues to deflect even further, completely changing the subject onto clothes and frog adventures, which seems to distract Falin as well, as she finally gives up on pushing.

And that's where the scene ends! Marcille pushes into Falin's space (without fully realizing), and Falin pushes back. She tries three times to get Marcille to acknowledge her wants, and three times Marcille rejects her, though she does eventually convey some truth. She is honest in her belief that Falin doesn't need to feel guilty, and that things will all work out, even as she continues to deflect the rest of the question. Falin finally accepts that, the topic of conversation changes, and we move on.

But there is a little bit more that happens between them. Towards the end of the chapter, they have this little 'oh no we have to share a bed' situation. Classic stuff.

And Falin seems to realize that the context of this is kinda different now then it was when they were in the magic academy. She's not a kid any more, and they just had those intimate moments in the bath. There's a new tension between them, or one that new at least to the bed sharing of it all.

And in this respect, too Marcille pulls away from what Falin is trying to say. She tries to frame Falin as a kid, tries to insist that nothing is different.

When I first got to this part, it honestly felt... a little uncomfortable? After the bath scene, it is really weird to move into a new intimate situation with Marcille explicitly treating Falin as a kid.

What I have realized in coming back to this scene, though, is how much I think its meant to feel uncomfortable. Throughout the chapter, Marcille's responses to Falin become increasingly patronizing. By letting some of that conflict between them resolve at the end of the first scene, the chapter seems to let things rest, and lets you set it out of your mind.

Then, when the same type of conflict comes back at the end of the chapter, Marcille is even more blatantly treating Falin like a kid, and the unfairness of it hits even stronger. They are both adults, and Falin deserves the truth. After 27 chapters from the perspective of Laios, Marcille, and the others in the group, this progression lets you feel things from Falin's perspective. It's supposed to feel uncomfortable because it IS uncomfortable for Falin, the way no one will quite tell her the truth.

After all, Marcille isn't the only one to do this kind of deflecting when Falin tries to ask about what happened. Laios has a similar response, right down to the 'treating her a bit like a kid' part.

Even more importantly, this final conversation of the chapter reveals one last layer in the knowledge/power imbalance between Falin and the rest of the party: she doesn't actually remember sacrificing herself and teleporting them out.

As I mentioned before, that action was one of the most assertive things we see Falin do in the story, and she doesn't even get to keep that for herself. Instead of being her action, her choice, it becomes yet another thing that the others know more about than her.

I think that's part of why there is such an air of melancholy to this hug they share on the next page

Obviously, obviously, there are so many emotions here for Laios and I don't think its all meant to be viewed as a negative thing, or that he or Marcille are being completely unreasonable. They've been through a lot, and what's more, they think they have time now. So much more time then they actually will have. Time to explain, to open up, to let Falin return to the group in full - as a teammate and not just as someone to be cared for and protected.

But they don't get time. And this relenting by Falin, this "I won't do it again," it's not something that feels triumphant. It's an attempt to comfort them, more a prayer than a promise. As if she is trying to exorcise a spirit. As if she is capable of promising that death won't come, eventually. It's what Laios needs, not what she wants.

That's the real tragedy of the chapter, I think. It's the one time, in the midst of everything, that they have the chance to give Falin what she wants - and they don't do it.

But I do think they realize that, and I think that this failure is a core part of their journey. It's another bittersweet taste to add to the mix - all the missed chances in this chapter to connect, amidst the moments of genuine peace they do get throughout it.

As Laios puts it later...

If Falin hadn't been eaten by the dragon, and perhaps if they hadn't failed her here, they never would have had the adventure that they got to share.

(or, perhaps more tactfully: in life & chapter 28, there are both good times and bad. Thanks, Chilchuk)

#dungeon meshi #delicious in dungeon #falin touden #marcille donato #laios touden #dunmeshi analysis #dungeon meshi spoilers

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thewriteadviceforwriters · 5 months ago

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Creating Compelling Character Arcs: A Guide for Fiction Writers

As writers, one of our most important jobs is to craft characters that feel fully realized and three-dimensional. Great characters aren't just names on a page — they're complex beings with arcs that take them on profound journeys of change and growth. A compelling character arc can make the difference between a forgettable story and one that sticks with readers long after they've turned the final page.

Today, I'm going to walk you through the art of crafting character arcs that are as rich and multi-layered as the people you encounter in real life. Whether you're a first-time novelist or a seasoned storyteller, this guide will give you the tools to create character journeys that are equal parts meaningful and unforgettable.

What Is a Character Arc?

Before we go any further, let's make sure we're all on the same page about what a character arc actually is. In the most basic sense, a character arc refers to the internal journey a character undergoes over the course of a story. It's the path they travel, the obstacles they face, and the ways in which their beliefs, mindsets, and core selves evolve through the events of the narrative.

A character arc isn't just about what happens to a character on the outside. Sure, external conflict and plot developments play a major role — but the real meat of a character arc lies in how those external forces shape the character's internal landscape. Do their ideals get shattered? Is their worldview permanently altered? Do they have to confront harsh truths about themselves in order to grow?

The most resonant character arcs dig deep into these universal human experiences of struggle, self-discovery, and change. They mirror the journeys we all go through in our own lives, making characters feel powerfully relatable even in the most imaginative settings.

The Anatomy of an Effective Character Arc

Now that we understand what character arcs are, how do we actually construct one that feels authentic and impactful? Let's break down the key components:

The Inciting Incident

Every great character arc begins with a spark — something that disrupts the status quo of the character's life and sets them on an unexpected path. This inciting incident can take countless forms, be it the death of a loved one, a sudden loss of power or status, an epic betrayal, or a long-held dream finally becoming attainable.

Whatever shape it takes, the inciting incident needs to really shake the character's foundations and push them in a direction they wouldn't have gone otherwise. It opens up new struggles, questions, and internal conflicts that they'll have to grapple with over the course of the story.

Lies They Believe

Tied closely to the inciting incident are the core lies or limiting beliefs that have been holding your character back. Perhaps they've internalized society's body image expectations and believe they're unlovable. Maybe they grew up in poverty and are convinced that they'll never be able to escape that cyclical struggle.

Whatever these lies are, they'll inform how your character reacts and responds to the inciting incident. Their ingrained perceptions about themselves and the world will directly color their choices and emotional journeys — and the more visceral and specific these lies feel, the more compelling opportunities for growth your character will have.

The Struggle

With the stage set by the inciting incident and their deeply-held lies exposed, your character will then have to navigate a profound inner struggle that stems from this setup. This is where the real meat of the character arc takes place as they encounter obstacles, crises of faith, moral dilemmas, and other pivotal moments that start to reshape their core sense of self.

Importantly, this struggle shouldn't be a straight line from Point A to Point B. Just like in real life, people tend to take a messy, non-linear path when it comes to overcoming their limiting mindsets. They'll make progress, backslide into old habits, gain new awareness, then repeat the cycle. Mirroring this meandering but ever-deepening evolution is what makes a character arc feel authentic and relatable.

Moments of Truth

As your character wrestles with their internal demons and existential questions, you'll want to include potent Moments of Truth that shake them to their core. These are the climactic instances where they're forced to finally confront the lies they believe head-on. It could be a painful conversation that shatters their perception of someone they trusted. Or perhaps they realize the fatal flaw in their own logic after hitting a point of no return.

These Moments of Truth pack a visceral punch that catalyzes profound realizations within your character. They're the litmus tests where your protagonist either rises to the occasion and starts radically changing their mindset — or they fail, downing further into delusion or avoiding the insights they need to undergo a full transformation.

The Resolution

After enduring the long, tangled journey of their character arc, your protagonist will ideally arrive at a resolution that feels deeply cathartic and well-earned. This is where all of their struggle pays off and we see them evolve into a fundamentally different version of themselves, leaving their old limiting beliefs behind.

A successfully crafted resolution in a character arc shouldn't just arrive out of nowhere — it should feel completely organic based on everything they've experienced over the course of their thematic journey. We should be able to look back and see how all of the challenges they surmounted ultimately reshaped their perspective and led them to this new awakening. And while not every character needs to find total fulfillment, for an arc to feel truly complete, there needs to be a definitive sense that their internal struggle has reached a meaningful culmination.

Tips for Crafting Resonant Character Arcs

I know that was a lot of ground to cover, so let's recap a few key pointers to keep in mind as you start mapping out your own character's trajectories:

Get Specific With Backstory

To build a robust character arc, a deep understanding of your protagonist's backstory and psychology is indispensable. What childhood wounds do they carry? What belief systems were instilled in them from a young age? The more thoroughly you flesh out their history and inner workings, the more natural their arc will feel.

Strive For Nuance

One of the biggest pitfalls to avoid with character arcs is resorting to oversimplified clichés or unrealistic "redemption" stories. People are endlessly complex — your character's evolution should reflect that intricate messiness and nuance to feel grounded. Embrace moral grays, contradictions, and partial awakenings that upend expectations.

Make the External Match the Internal

While a character arc hinges on interior experiences, it's also crucial that the external plot events actively play a role in driving this inner journey. The inciting incident, the obstacles they face, the climactic Moments of Truth — all of these exterior occurrences should serve as narrative engines that force your character to continually reckon with themselves.

Dig Into Your Own Experiences

Finally, the best way to instill true authenticity into your character arcs is to draw deeply from the personal transformations you've gone through yourself. We all carry with us the scars, growth, and shattered illusions of our real-life arcs — use that raw honesty as fertile soil to birth characters whose journeys will resonate on a soulful level.

Happy Writing!

#writing #writeblr #thewriteadviceforwriters #creative writing #on writing #writers block #writing tips #how to write #writers and poets #writers on tumblr #authors on tumblr #author #historical fiction #fiction #novel #publishing #short stories #short story #character arcs

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linkspooky · 2 months ago

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ONCE MORE, I THINK I'LL LIVE FOR OTHERS

So of all the characters in Jujutsu Kaisen Megumi has turned out to be one of the most controversial and hotly debated characters. There's nothing the internet hates more than a boy with trauma, I guess. Jujutsu Kaisen is a controversial work in general so it's not surprising that the ending wasn't super well received by the fans, especially in the way it decided to conclude Megumi's character arc.

There are many people accusing Gege of giving Megumi no character development. Of Megumi just choosing to replace Tsumiki with Yuji. Lots of complaints about Megumi never finishing his domain expansion among other things. Of Megumi being nothing more than a damsel for Yuji to rescue in the end. I'm here to say I think Megumi does have a complete character arc even if it didn't end the way I would have liked, and under the cut I'll be giving my thoughts for Megumi's ending and JJK's ending in general.

I CAN ONLY SAVE THOSE WHO ARE PREPARED TO BE SAVED

If you were to ask me what the most important arc in Jujutsu Kaisen is, it would be Hidden Inventory. Hidden Inventroy covers the inciting incident which leads to all the conflicts in the main story, Riko's death, Geto's defection, Tengen's merger failing, and Gojo's decision to adopt Megumi.

However, it also shows us what motivates Gojo in the main series, mainly his desire to raise this generation of students into strong and intelligent allies because of his inability to save his closest friend when it most counted.

If the quote that summarizes the central theme of Jujutsu Kaisen Zero is "Love is the most twisted curse of them all."

Then I put forward that the quote that summarizes the theme of the main series is what Gojo said to Yaga post Geto's defection, "Being strong isn't enough, I can only save those who are prepared to be saved."

Just like Hidden Inventory is centered around Geto and Gojo's relationship in their youth, the main manga itself centers around Megumi and Itadori's relationship. The manga itself starts with their first meeting. Yuji devours the finger in order to try to help Megumi. Megumi requests Gojo help save Yuji from execution because he didn't want to see another good person die.

Megumi and Itadori are also a deliberate parallel to Geto and Gojo's friendship in the past. To begin with Gojo tried to nurture these relatoinships in his students so they COULD get along and enjoy their youths the way he remembers doing so with Geto in his three springtime of youth.

He not only encourages Megumi to selfishly try to save Yuji even though it is against the rules of sorcery and poses a risk to other people, he also encourages them to socialize at every opportunity.

The strong and intense friendship that Megumi and Yuji enjoy is not only a clear parallel to Geto and Gojo's special connection with one another, but also the fact that a strong reocurring motif in Megumi and Yuji's friendship is their strong desire to save each other. Which is a clear parallel to Gojo's inability to save Geto in the past.

As I said for a long time Yuji and Megumi were being set up as this generation's version of the "strongest duo" except they were going to be able to break the cycle. Whether it be by Megumi saving Yuji, or Yuji saving Megumi, they wouldn't be driven apart by the corruption in the Jujutsu World the way that Geto and Gojo were.

As I said the central question of Jujutsu Kaisen especially in regards to Megumi and Yuji's friendship is if it's possible to save someone who doesn't want to be saved. Which is why Megumi and Yuji both wanting to save each other is something that happens again and again at different parts of the manga. Whether it be the ending of Origin of Obedience where Megumi and Yuji are both unable to talk to each other because they want to try to protect the other from information that might harm them. Megumi hiding the fact that he knows resonance between the Sukuna fingers awakened the curses. Yuji hiding the fact that Megumi's decision to save Yuji has caused strong curses to awaken and kill other people.

Just as often as these two try to save each other, they fail. Megumi watches Yuji die early on when Yuji takes back control from Sukuna and decides to die without a heart.

Megumi spends the entirety of the culling games clinging to Yuji's side no matter how Yuji tries to push him away because he knows Sukuna has plans for him. However, Megumi is afraid to leave Yuji alone because he knows Yuji is in a dark place after the Shibuya massacre and that if he's left alone Yuji might just find some way to off himself in a heroic sacrifice to try to atone for the people lost at Shibuya.

Only for Megumi's insistence on clinging to Yuji to backfire because Sukuna ends up taking his body from him in a critical moment. When Sukuna takes his body their circumstances swap and Megumi is the one who's body is being used to kill people by Sukuna. When Megumi has to live with the guilt of Sukuna using his body to kill both his sister and his teacher, he's not able to live with it anymore.

Then their positions swap completely and it's Megumi who wants to die to atone for the guilt, and it's Yuji who doesn't want to let go of Megumi and will do anything to save Megumi from both Sukuna and the other sorcerers even if the right thing to do is just kill both him and Sukuna and letting him live means putting the whole rest of the world at risk.

As you can see not only is saving each other a common theme of Megumi and Yuji's relationship, but at different points of the story both of them are trying to save the other even when the other doesn't value their own life.

Gojo's relationship with Geto is defined by his inability to reach his friend in time, and how he was "left behind" in the end.

Gojo explicitly waited a year after learning about Megumi being sold to the Zen'in clan to do anything, and only decided to intervene after Geto's defection. Gojo's decision to mentor Megumi was inspired by Geto leaving. He even said "Don't get left behind."

His hope in taking in students like Megumi, Yuta and Yuji was twofold first that he'd be able to handpick and raise several strong students who would eventually replace the elders and reform the Jujutsu World. The second and more personal motivation is that he wanted these students to be able to support each other and be strong allies to one another so they wouldn't end up alone like Gojo did in his youth.

Gojo's intentions were good however, Gojo has a very flawed understanding of how people and relationships work. In Gojo's books "strong=good" and almost everything can be solved by strength. Notice just one chapter ago Gojo said that being strong wasn't enough, he can only save those who are prepared to be saved and yet one chapter later he tells Megumi that he needs to get strong otherwise he'll be left behind.

So, even when Gojo knows that being strong isn't enough and didn't make a difference with Geto, that's still the only real advice he can offer Megumi.

A big theme of Jujutsu Kaisen is the failures of the past generation affecting the present. A lot of people in trying to put Gojo on a pedestal fail to realize one of the central themes of this manga is GOJO WAS WRONG. The way Gojo went about doing several things wasn't the right way. Gojo wants the next generation to succeed him and do better than him, because Gojo himself knows that he was wrong and he's a part of the past generation.

I think a big part of the reason the conclusion to Megumi's character arc is poorly received is that Megumi didn't end his arc the way that Gojo set out for him.

Scenes like this led the audience to believe that Megumi's character arc was going to be completed by him learning to be more selfish and living up to the potential that Gojo saw in him. That we were going to get a completed domain expansion. That Megumi was going to become stronger than Gojo because the ten shadows was the only technique to ever beat a wielder of the limitless and the six eyes.

I understand wanting to see Megumi living for himself, and how cool it might be to see Megumi's complete domain expansion after Gege teased us with this twice but I have to ask this.

If Gojo was the strongest sorcerer in the world, and that still wasn't good enough to save Geto. Then how would Megumi reaching his full potential as a sorcerer in any way help Megumi avoid making the same mistakes that Gojo did?

HAVEN'T WE HAD ENOUGH OF GOJO SATORU

I think a lot of dissatisfaction in Megumi's character development comes from he didn't really follow the path that Gojo set out for him. He didn't unlock his full domain expansion, he didn't learn to live more selfishly. They say that Megumi simply choosing to live for Yuji isn't him learning to stand on his own two feet because he's just hinging his self worth on someone else the same way he did with Tsumiki.

However, I have to ask.

How exactly would Megumi becoming more like Gojo or more like Sukuna be any better?

A big recurring theme in Megumi's arc is his lack of agency, and how many different adult figures have tried to mould him to their own selfish ends.

In the same chapter where Megumi has the flashback where Gojo encourages him to become more selfish, Sukuna has his hands wrapped around Megumi's neck in the colored page. Sukuna was never actually trying to mentor Megumi.

He only had an interest in Megumi because his ten shadows techniques was a way to bypass Gojo's infinity. Henever actually cared about Megumi reaching his full potential. He was grooming Megumi in the long term so he could snatch his body and turn him into a weapon against Gojo Satoru. The same way that Gojo only decided to take Megumi in and mentor him in the first place because his technique meant he had great potential as a sorcerer and a future ally in Gojo's crusade against the elders.

Megumi's life is defined by every adult in his life trying to mould him or use him selfishly for his own gains. His father sold him to the Zen'in clan for gambling money and abandoned him. Gojo only was interested in a strong ally against the elders. Sukuna is just one in a long line of people who are trying to shape Megumi into something he's not for their own selfish desires.

Ngl, the fushiguro girlies are kinda onto something with their characterization of Sukuna’s possession as the physical embodiment of his lifelong struggle for self determination and autonomy and how others have always pupeteered his fate for their own devices and he’s thusly never put himself first ─ his selfishness functioning ultimately as platitudes which still center others and his consideration for them. [SOURCE]

So if all of Megumi's various abusers have tried to make Megumi into something he's not and robbed him of his agency in the process, then is the best ending for Megumi really to become more selfish like Gojo or Sukuna?

If Megumi ended his character arc by using a complete domain expansion, and reaching Gojo's level of power wouldn't that be validating the way Gojo stole Megumi's entire childhood from him in order to make him a strong sorcerer. Wouldn't it look like the narrative was going, yeah, it was wrong for Gojo to groom Megumi like that, but look how strong it made him!

We already have a version of Megumi who learned to live only for himself, someone who broke the chains of fate and became entirely free.

Toji shows us a version of Megumi who lived up to his full potential as a sorcerer, became someone strong enough to threaten Satoru Gojo, and who put himself above everyone else and... Toji's fucking miserable.

Toji is the bad ending of Megumi. He's strong but that's all he is. The narration refers to him as a puppet of carnage, only living to fight the strongest around. In fact, Toji dies BECAUSE he wanted to feel validated as the strongest. The decision to say and fight against Gojo when Gojo unlocks reverse cursed technique leads to his death. Being the strongest and his desire to be validated as someone strong is nothing more than a curse for Toji and what allows him to escape the cycle is not strength, but rather seeing that his son has succesfully escaped the abuse of the Zen'in clan.

So having Megumi live up to his full potential as a sorcerer, or living selfishly the way that Gojo or Sukuna wanted him to wouldn't really be breaking the cycle, because it'd be Megumi acting the way his abusers wanted him to act. If anything it' be Gojo's long term grooming of Megumi finally succeeding.

I understand that Megumi fighting back on Sukuna from within with one use of ten shadows to create a puddle underneath Sukuna's feet isn't the most dramatic way to signal his journey of self-realization, but sometimes the flashy, dramatic, and satisfying thing isn't always the right thing.

if the central relationship of the series is Megumi and Yuji, and the central question of that relationship was "is it possible to save someone who doesn't want to be saved-" then resolving both Megumi and Yuji's character arcs requires answering that question. That's the most important part. How are we going to break the cycle and have Megumi and Yuji save each other in a way that Geto and Gojo weren't be able to.

Yes, I understand wanting Megumi to be his own person and stand on his own two feet, but before he's a person Megumi is a fictional character. Megumi and Yuji are characters intentionally designed to be each other's other half. The same way that Geto is designed to be the other half of Gojo. They both represent a yin / yang pair. They both represent the shadow and the light, the sun and the moon.

People also talk about wanting Gojo to learn to be his own person outside of Geto, but that's also missing the point. Gojo isn't a person to begin with he's a character designed to be the other half of Geto. All of those parallels that exist between them, both of them getting their bodies stolen from them, both of them becoming monsters (geto slaughtering the village, Gojo slaughtering the elders), both of them dying on the same day. Those are intentional, because they're fictional characters meant to represent the concept of yin and yang and balance. Gojo cannot exist without Geto, Geto's body causes Gojo to get boxed, Gojo dies within a year of killing Geto, because they're meant to represent the taoist concept of BALANCE in a manga that's about BALANCE. Gojo cannot achieve balance with the character that symbolizes his yin. Whereas, Megumi's way of achieving balance is to find a way to make things work with his other half Yuji in a way that Geto and Gojo failed to.

As someone who used to be the biggest Megumi Corruption Arc truther, I've come around in my thinking and I can at least understand why Gege didn't go that direction. Megumi learning to be selfish like Gojo would be changing too much of Megumi's inner nature, because as much as Megumi pretends to be selfish as an excuse he still is someone who wants to help people.

There's nothing wrong with Megumi wanting to help people, or wanting to be a team player. It was Megumi deciding to hinge his entire self worth on just his ability to help one person. It's why he couldn't go on when Tsumiki died, not just because he was grieving his sister, but because he decided to make protecting his sister his entire reason to live and genuinely saw no other reason to keep on living.

A lot of people say that Megumi is just deciding to make Yuji into an emotional crutch the same way he once did with Tsumiki, however, I don't think these lines of dialogue really indicate that.

"The world is full of people besides myself. Once more I think I'll live for others."

To begin with, Megumi says that the world is filled with lots of people. Megumi didn't want to go on because he didn't think he'd ever love someone as much as he loved his sister. That there was nothing in the world worth living for if his sister was gone.

However, now Megumi is acknowledging that there are more people in the world than just Tsumiki. That he might come to love them the same way that he loved her. That he shouldn't give up on life just because he lost one person, no matter how important that person was.

Megumi's words run contrary to the idea that he's just going to use Yuji as his next living emotional crutch, because he says the world is full of people. There's more people than just him, there's more people than just Yuji, as long as Megumi makes the choice to continue living then he can go out into the world and meet them.

Jujutsu Kaisen is a very individualist manga, and I understand we also exist in an individualist society so we want to see Megumi stand on his own two feet and live for himself, but I don't think Megumi deciding he'll live for others is a bad thing. This is just a few chapters after Yuji said that what makes life meaningful is the memories you leave behind with other people. Which is the exact same sentiment.

Yuji is able to break free from the cog mindset when he realizes that all the people he connected to in his life gave his life meaning, even if they died tragically, even if he only knew them for a short time. Choso's final words are "Thank you for being my little brother" and that connection was incredibly important even though they only knew each other for about a month. Yuji's life became meaningful because he went out into the world and made all these important connections.

Now Megumi is doing the same thing. He's resolved that even though his sister is dead the world is full of people he can connect with. That he can come to love other people the same way that he did. That his life is still worth living because he can find new people to love. Is Megumi deciding he can try to live for the other people in his life and his connection to those people even after the loss of his sister made him feel like his life is worthless and he'll never love anybody that way again, really that different from Yuji deciding that the people he made connections too gave his life value?

Jujutsu Kaisen lifts from other manga, this is pretty common knowledge. Killua and Shinji Ikari are probably the two biggest inspirations for Megumi and both are two very passive characters who are entirely reactive. They don't decide, they don't act, they react to the decisions of people around him.

Killua's ultimate moment of character development isn't beating his abusive big brother, or his abusive parents in a physical fight after getting a power up. Killua's greatest moment of character development is accepting Nanika as a part of Alluka. Something he was too afraid to do because it would mean that his family would continue to try to exploit Alluka for her wish granting abilities.

Killua finishes his arc with the resolution to protect both Alluka and Nanika from the rest of his family. Considering that Killua has been centering his entire self worth around his usefulness to Gon by this point you could call it Killua is just replacing Alluka with Gon as a crutch if you were cynical. Or you could just say that Killua, like Megumi is someone who lives for their loved ones and finds value in the bonds he makes with other people.

Shinji Ikari spends the entire 26 episode run of Neon Genesis Evangelion not making a single decision, and his final moment of character development isn't really that much character development. He simply makes the decision to reject instrumentality and try again. To go back to the real world and try to be a person in the world again, because as long as you're alive there's still a chance to be happy.

Megumi like Killua, never really changes. It's in Megumi and Killua's nature to be a protector / a nurturer. They want to take care of the loved ones in their lives. Megumi and Shinji both have an arc where it takes the entire anime / manga to take the very first step. Their arc is there to depict how hard it can be to take that first step on the journey to change when you're as traumatized as someone like Shinji or Megumi.

Megumi's arc especially is about him making his very first decision in the whole manga. As I said the central question of Megumi and Yuji's relationship is can you save someone who doesn't want to be saved and Yuji eventually finds you that you can't.

Yuji's greatest moment of character development and empathy for Fushiguro is realizing he can't force savlation on Fushiguro if Megumi doesn't want it. He can't force Megumi to live. He can't just tell Megumi to be stronger.

In doing so Yuji does something that no one has ever done to Megumi in his life, and offered him a choice. Gojo expected Megumi to be as strong as him and saw him as a mini-gojo never once taking his opinion into the matter. As I said above Gojo sees being strong as the soliution to all of life's problems. His adivce to Megumi was don't be weak, otherwise you'll be left behind.

Yuji allows Megumi to be weak. He says that Megumi doesn't have to be strong and suck it all up. The metaphor of Yuji and his grandfather works well to show how Yuji truly understood Megumi in a way Gojo never did. Gojo expected Megumi to be as strong as him. Gojo encouraged Megumi to grow up into another Gojo. Gojo failed to understand Megumi in many ways because he wasn't Gojo, and enjoy Jujutsu and being a sorcerer the way that Gojo did.

Yuji relates the story of his grandfather rejecting chemo treatment. At the time he didn't understand why his father would refuse the treatment just because it was painful, because Yuji being young would have been very easily able to handle the pain. However, after Yuji went through trauma and started dealing with suicidal ideation in the aftermath of Shibuya he understood why some people wouldn't want to keep fighting.

Yuji knows what it's like to be weak and want to give up so he doesn't want to force Megumi to be strong. Gojo projected himself onto Megumi and expected Megumi to always be strong and to love Jujutsu like he did, and didn't understand the ways Megumi was different than him. Yuji on the other hand accepted Megumi for who he was with those words, even though Megumi was weak and didn't want to continue living Yuji didn't crticize him he accepted that Megumi was different from him. He accepted the fact he didn't really understand Megumi's pain. He validated Megumi's pain and didn't try to dismiss it.

This parallel to Gojo and Megumi's first meeting is so important, because Gojo showed up in that child's life only to exploit him. While Yuji gave Megumi a choice. Even if it meant that Yuji would be lonely and heartbroken, he still gave Megumi a choice on whether or not he wanted to live.

In the end Yuji gave Megumi a choice, and Megumi made that choice to keep living. Just like Shinji, Megumi's entire character arc was just leading him up to taking the first step on his journey. Just like Shinji, Megumi's entire arc is defined by his choices being taken away from him but the very first choice he makes is his most important one: the choice to live.

So yes, a Megumi corruption arc would have been really cool but I think the answer of "You can't save someone who doesn't want to be saved, but you can still love them" is a beautiful one.

#jjk meta #megumi fushiguro #yuji itadori #itafushi #satoru gojo #suguru geto #satosugu #ryomen sukuna #jujutsu kaisen spoilers #jjk 271 #jujutsu kaisen 271 #jujutsu kaisen #jujutsu kaisen meta

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writingwithfolklore · 1 year ago

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Writing Character Arcs

Here’s an easy secret about character arcs—they fit the same structure as plots (that’s because your main character’s arc is the main plot, but I’ve already talked about that here).

That means, your character arc will somewhat follow this structure:

Normal world

Inciting Incident

Big thing happens 1

Fun and Games

Midpoint

Things get worse

Big thing happens #2

Crisis

Climax

Resolution

It begins with your character in their ‘normal state’—who they are from their backstory. They have some sort of problem that they aren’t addressing, because why would they? Change is hard.

Then, inciting incident. Something happens that sends them into a “change spiral”. They’re forced to face something they’ve been ignoring or avoiding. This incident can be just about anything that turns their world upside down—a new person comes into their life, an old person they left behind reappears, a close one dies, or a friend moves on. Etc. Etc.

Big thing #1 is the first action they take to “right” what happened in the inciting incident. An old flame reappears in their life, maybe they decide to meet up with them. A close friend dies—maybe they decide to take a trip away for a little while. It is an action taken by your character because of what happened in the inciting incident.

Fun and Games is the part where things seem to be going okay for them. Or things can be going terribly for them—it’s up to you. Either way, it accumulates to…

The midpoint. Something happens and it’s terrible and probably their fault. The old flame reinforces why they stopped going out by breaking your character’s heart again. The funeral for the friend is happening and MC missed it. Etc.

Things get worse is just hammering home this point. From their actions, things are going downhill.

Big thing happens #2 is the second action they take to right things again. This time they’re changing strategies from the first thing they tried. Maybe if they tried avoiding their problem first, they’re going to confront it (for better or for worse).

The crisis is the recognition of their initial problem or flaw. Leading to:

The climax, in which the character either chooses to change or to stay the same. Grow and do the right thing knowing what we now know, or stay stagnant and do the thing they would have done in the beginning. What you choose here depends on if your story is a tragedy or a comedy—tragic characters don’t recognize their flaw and grow from them.

Resolution is the consequences of their actions. For tragic characters, things are probably bad and remain that way—we need to show the readers their choice was the one wrong. For characters who do grow, we see them begin to thrive for the first time in the story. They’ve achieved what they wanted, though maybe not in the way they thought they wanted it.

(Pair this post with Character is Plot to flesh out your characters.)

#writing #creative writing #writers #screenwriting #writing community #writing inspiration #books #film #filmmaking #writing advice #character arcs #writing character arcs #character development #character building #character journey

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writingquestionsanswered · 6 months ago

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I'm tired of my ideas always being big. It's overwhelming. I like seeing others' WIPs and ideas because they're just so simple... Like, that comic about a mermaid living in the ocean in our modern time and dealing with plastic trash. So simple and my own brain is bursting with ideas. But my own WIPs... they just start huge. I'd like something smaller... but I don't know how.

Stories Always Get Too Big

Stories can get out of hand quickly when they sprout too many independent threads. There are three primary culprits that serve as sparks that create these threads:

1 - Setting 2 - Non-Protagonist Characters/Relationships 3 - Back Story

The thing to remember, though, is that no matter how interesting your setting is, no matter how compelling your other characters are, and how fascinating the back story is, those things are not your plot.

Plot is the sequence of events through which the protagonist (and potentially other main characters) attempt to resolve the story's conflict by overcoming obstacles and setbacks in pursuit of a goal.

In other words, focus on this:

the protagonist > their normal world > the event that introduces a problem they must resolve > the goal they formulate in order to resolve that problem > the events that occur as a result of their pursuit of this goal > their attempts to overcome obstacles and setbacks encountered along the way > their attempt to solve the problem once and for all > failure or success > life in a changed situation/world

Anything else doesn't need to be there unless it is critical in order for one of the above steps to make sense.

So, let's take your mermaid example... though I haven't read that comic so I'm winging it here:

the protagonist = mermaid normal world = doing mermaid stuff inciting incident = finding plastic trash in the water goal = clean up/find the culprit and teach them to do better events = cleaning up, learning about humans, tracking down culprit climax = mermaid appeals to humans to do better finale = mermaid is living in a cleaner ocean

Now, let's say your brain starts to go off on a tangent about a deep oceanic rift and an evil merman wizard who lives there... stop right there. It's a fun idea, but what does it have to do with this story? How does it relate to the trash, clean-up, finding the culprit, or appeal to humans to do better? It doesn't. Theoretically, you could make it make sense... like, maybe the merman wizard likes the trash and wants the ocean to be dirty and gross, so maybe he is opposing the mermaid's attempts to clean up and to appeal to the humans. Okay, that works, so you can keep it. But, let's say you also have this idea about these creatures that live around the hydrothermal vents, and the mermaid meets and falls in love with a scientist who's studying them. Okay, again, interesting idea, but this one is much harder to fit in with the rest of the story. Sure, you could say the scientist is studying marine pollution instead... that brings it back around to the main conflict, but still, what does this relationship add to the story? How does it help or harm the mermaid's mission? How does it help to explore the story's themes or help deliver the message? It doesn't really sound like it does, so this would be an example of a thread you can probably snip.

And the thing is, it would be okay to follow a thread like that while you're plotting or writing your first draft, just to see where it goes and see if you can make it work. Part of why we edit and revise is to snip out the threads and elements that aren't pulling their weight. But learning how to curb them as they occur to you will help save you work later on down the line. Try writing those ideas down in an ideas document, and maybe those can be worked into different stories, a sequel, or a companion story.

One final note: I am very much aware that there are some epic writers out there who let wild tangles of threads sprout as they write, and they follow them all without abandon, relevant or not. That's okay, too. These are writers for whom that works, who don't feel overwhelmed by all of those threads, who want to write something bigger and more unwieldy. Maybe in time as you get accustomed to writing smaller, tidier stories, you embrace the bigger stories your brain wants to tell. Or maybe you don't. Whatever works best for you is all that matters. :)

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

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wavesoutbeingtossed · 1 month ago

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The TTPD Deep Dive (Part ?)

It’s no secret that I have a lot of Thoughts about The Tortured Poets Department and it has lived rent-free in my head since it came out earlier this year. I’m absolutely blown away by how underneath the chaos, it’s actually an exceptionally cohesive story and is probably the closest to a concept album Taylor has ever done.

There are so many themes that have stood out to me over the last five months, and there’s one in particular that I think not only drives the entire album, but ties into previous albums to help deepen understanding of it.

This is it, my fangirl magnum opus, my months of posts consolidated into one place. This is also my disclaimer that this is just my interpretation of the album, and my summary of the story it tells, and I don’t pretend to have any special insight or authority. I’m not saying I’m correct at all, do not take any of this as fact, it’s just what it sounds like to me, and these are my silly not-so-little thoughts about it.

(Under a cut because it’s way too long and involves discussion many may not care for or be sick of.)

Come one, come all, it's happening again (I'm thinking too hard about Taylor music)

The overarching theme in TTPD to me is: Grief. If you’re looking at TTPD as a story being told (instead of just as someone’s real life), the inciting incident of TTPD is loss, and the grief from that loss is what drives the narrator’s actions and the fallout, as well as unpacks those complicated feelings and how they apply to the her life in general. By the end of the standard album, it’s also about recovering from that pain, moving on from it and learning from it.

The loss specifically is the loss of the dream of having a family (with one’s partner). One thing that is abundantly clear both on the top line and under the surface in TTPD is how Taylor (as a person and as narrator) longed not only to for marriage but specifically parenthood, and the fear and then realization of losing that chance absolutely wrecked her— which is why the next lover’s (the conman's) wooing worked so well, because it preyed on that yearning. Yet that loss also dovetails into the grief of many things: of youth, of idealism, of relationships, of ideas, even of self, which causes almost a deconstruction of a belief system to piece one’s life back together by the end.

THE CONTEXT

TTPD weaves in the topics of marriage and motherhood both explicitly and in the subtext, in various forms and scenarios. The cheating husband in “Fortnight.” The wedding ring line in “TTPD” the song. “He saw forever so he smashed it up” in “My Boy Only Breaks His Favorite Toys.” All of “So Long, London.” Running away with her wild boy in “But Daddy I Love Him,” fantasizing about weddings and joking about babies. The imaginary rings in “Fresh Out The Slammer.” The cheating husband (again) and the friends who smell like weed or “little babies” in “Florida!!!” “You and I go from one kiss to getting married,” “Talking rings and talking cradles,” and “our field of dreams engulfed in fire” in “loml.” (And arguably: “I wish I could un-recall how we almost had it all.”) “He said he’d love me all his life, but that life was too short,” in “I Can Do It With A Broken Heart.” They may not sound like much on their own, but they paint a picture about how the topics pervaded her thoughts and her writing, and in many cases express her desires, and her pain.

It’s something that goes back several albums when you pick up on context clues. You get the first hints on Reputation with “New Year’s Day,” and “you and me forevermore.” Then Lover is very forward with it: “Lover” is basically wedding vows, “Paper Rings” is very engagement-coded, “I Think He Knows” is cheeky but low-key “you better put a ring on it,” “It’s Nice To Have A Friend” has wedding/marriage imagery in the last verse. As a self-professed diaristic writer, it’s the type of stuff one presumably doesn’t put out there unless those conversations have already happened, and she was very excited about it at the time it was released.

Then the pandemic happens and folklore comes out, and while there is still happy love there (“invisible string”), there are also the first indications that something has happened to put a halt to whatever future she once dreamed of (“hoax,” “the lakes”) and that she’s trying to reassure herself and him that it can still happen even if she’s scared it might not (“peace”). Notably, as far as I can remember it’s the first time Taylor explicitly brings up the idea of family (with her partner) with “you know that I’d give you my wild, give you a child,” which stood out at the time because it’s so incredibly vulnerable, but it’s even more poignant when you really take in that the whole song is like a confession of her deepest worries, and this is her vowing to give him these things that she holds most sacred if he’ll let her. These are what she cherishes most dearly and wants to return in kind: her youth and commitment (my wild), the family she craves (a child), unconditional support (swing for the fences/sit in the trenches) and understanding/compassion (silence that only comes when two people know each other).

Evermore follows an even darker path, and suddenly the album explores relationships that end and grappling with loss. There are toxic relationships (“tolerate it”), dangerous marriages (“no body, no crime,” “ivy”), failing/broken relationships (“Coney Island,” “champagne problems,” “happiness,” “‘tis the damn season”), as well as grief (“Marjorie,” “evermore”). Even some of the happy songs have uncertainty in them: in “willow” she’s begging for him to take her lead, like she’s still trying to decipher him and ask him to commit; in “cowboy like me,” still a beautiful love song, she’s thinking, “this wasn’t supposed to work and we were supposed to bail on each other but we fell in love instead”; “evermore” is about the depths of severe depression (and more) with the love story being the one saving grace in her darkest hour. And it’s also notable that after all the “fiction” writing, shortly after this album she writes “Renegade” where she’s telling the subject: I’m ready to start the next phase of our life now, why aren’t you? Is it me you don’t want after all? It’s like there’s something telling her that this stall might not just be a stall.

Midnights is a jumble (in a good, but in hindsight, also sad way) with the “sleepless nights” concept, but it seems pretty clear now that the themes and events and relationships she was revisiting tied into a lot of what she was feeling in her present life. I wrote the cliff notes version awhile back, but she’s questioning so much of her life that’s reflected in past events and relationships. Am I actually always the problem? How did we lose sight of each other and what we had? We only seem to work when we block out everyone and everything else. Can we ever go back to when things were good? Why are you neglecting me? I once thought I was going to lose everything but you saved me in the nick of time, can that happen again? I chased my career, but did I give up my chance at having a family in the process? Nobody knows what I really suffer from behind closed doors and I’m all alone.

And so on, which in retrospect now that we have TTPD, is very much what she was grappling with in private while writing and releasing the album. The inspiration behind the songs may have been different events and muses, but regardless of their origins they all end up feeling too familiar, like she's seen this film before (ahem). We’re seeing her view of commitment change too, or rather how she writes about it: she’s not making the outright declarations of it like on Lover, or even the implied ones on folklore, nor is she talking of the dark side of it like evermore. For the most part it’s a return to the early days of some relationships, before things got hard, or the end of them when there was nothing left, and also pushing away the discussion of it altogether by the outside world. “Sweet Nothing” is a sweet slice of life, but even at that, it’s the peace of the home in conflict with the pressure of the outside world. Now that we have “You’re Losing Me,” which was written at the same time as the rest of the album, we can probably deduce that she was going back to the start because something happened that made her doubt the future.

THE SETUP

So much of Midnights directly ties into TTPD, and I said in the post I linked that it’s like Midnights is asking the questions that TTPD answers. But there’s one song in particular on Midnights that sticks out to me as being key in the broadest sense to understanding the state of mind that led to the events of TTPD, and that’s “Bigger Than The Whole Sky,” because the way it expresses grief is reflected in the theme of mourning a life built and the dreams along with it that are never realized in TTPD. There are several instances in TTPD that are basically variations of: “every single thing to come has turned into ashes,” and that’s what makes her snap, and leaves her vulnerable to someone who promises her those things when she’s bereaved at losing them in the first place. (In other words: “the deflation of our dreaming leaving me bereft and reeling.”) The song tells a story about how that loss of hope colours one’s entire mindset, and in some ways is a bridge to TTPD to understand what such a low point feels like.

I think that that grief, and most importantly losing hope for an imagined future in its wake, is fundamental to understanding TTPD on so many levels: both the decline with one partner that kept her hanging on then led her such a dark path, and why she fell for the conman's apparent bullshitting because it offered an express pass to what she was losing with her partner. And I also feel like it plays a part into the ruminating she’s doing all over Midnights, trying to make sense of where she finds herself when she’s writing the album, which directly leads to “You’re Losing Me.” Loss permeates so many of the stories on Midnights: of lovers, of innocence, of youth, of faith, of control, of life’s work, etc. “BTTWS” is just one of the ways in which it is expressed so fully, capturing that deep depression and subsequent extinction of faith in something that once felt assured and very much wanted. (Which is also mentioned in her writing process in the “Depression” playlist on Apple Music.)

If you understand why that feeling of loss in general across so many parts of life is so important to Midnights, then it illuminates so much about the “narrative” in TTPD too. If on Midnights she’s wrestling with the seeds of grief and loss (on multiple fronts), TTPD is her reckoning with it in its full form. “So Long, London” is the song that is the most explicit about it: How much sad did you think I had in me? How much tragedy? Just how low did you think I’d go before I’d have to go be free? You swore that you loved me, but where were the clues? I died on the altar waiting for the proof. It’s the sequel to “You’re Losing Me.” It’s, the air is thick with loss and indecision, I know my pain is such an imposition, I’m getting tired even for a phoenix, all I did was bleed as I tried to be the bravest soldier, I’ve got nothing left to believe unless you’re choosing me, my heart won’t start anymore, but from the other side of the break.

This is highly speculative, but if you follow the thread about the topic and the relationship as told from Rep through TTPD, in broad strokes it goes: young love with a serious connection (Rep) -> growing up and making life plans (Lover) -> something happens that delays those plans or makes them grind to a halt (folklore) -> serious doubts arise and cause a loss of faith in their future (evermore) -> struggling with the loss of that future and trying to make sense of the problems in a last ditch attempt to save the relationship (Midnights) -> fallout from that grief after the blowup of the relationship (TTPD). Understanding that progression of events (through the music) explains not only the storytelling side of TTPD (e.g. the jump from the partner to the conman) but also how the experiences/muses blend in the music, and how the music that on the surface is about the short-term relationship is really driven by the destruction of the long-term one.

Following the music, it’s IMO implied that Taylor (the narrator) was holding out for marriage and family with her partner, for years, and it seems like it was at one point a shared dream until something happened to pump the brakes, and seemingly on her partner’s end. And extrapolating further, given how the sorrow expressed in former albums bleeds into TTPD, it sounds like a plan that had been concrete in some form before it had fallen apart, and losing something that once felt so tangible is what drives her in her grief to find any kind of respite from the pain. Which is why the situation with the conman becomes so appealing as the one with the partner splinters further and further.

(If everything you’ve once touched is sick with sadness and you don’t want to be sad anymore, what are you left to do?)

THE STORY

So (one part of) the story kind of sounds like this from the standard album: the relationship with her partner as well as his mental health slowly deteriorate and he withdraws emotionally (“London,” “Fresh Out The Slammer”) and physically (again, “London,” and “Guilty As Sin?”) and takes his resentment out on her (“London” and arguably “My Boy Only Breaks His Favorite Toys” even though I don't want to get into muse speculation here). As she sinks deeper into her own depression as a result, the weight of the failing relationship starts feeling like a cage— or a noose (“London,” “Guilty”), but coming to terms with the loss of their life together and the future they’d dreamed of was killing her (again, “London,” but also “I Can Do It With A Broken Heart”).

Enter the conman who she reconnects with at the very point where this is coming to a head (knowing that IRL she reconnected with him around the time Midnights was being worked on) , and if you read between the lines, she confides some deeply personal things to him (“Down Bad” and “hostile takes overs”/“encounters closer and closer,” “Smallest Man” and the entire sleeper cell spy imagery which is one of my favourite things and I could write a whole essay about the meaning of it, “loml” and “A con man sells a fool a get-love-quick scheme”). Then after she’s confided these secrets to him, he insinuates himself back into her life (“Guilty,” “Down Bad,” “Smallest Man”) and sells her a dream that HE can give her all these things she hopes for (again, “Down Bad,” “Smallest Man,” “loml,” song “TTPD,” “Broken Heart”).

But the thing is, he only knows these are the things she wants because she’s revealed it to him, and presumably, told him that was what she was losing by staying with her partner. And instead of the normal response of, “that is really sad that your partner is not supporting you and you deserve to be treated better,” to a friend in growing distress, it seems like it was, “well I can give you all those things!!!! Right now!!!! Trust me!!!!” And worked on her until she believed it, and jumped at the chance at a precarious time in her life. And one thing I want to underscore is: Taylor has agency in the situation always, it’s not like she’s been kidnapped and brainwashed. (In fact, she implores on songs like “But Daddy” that SHE is in charge of her own choices, good or bad.) She chose to rekindle the friendship and then relationship, and she chose to eventually leave her long term relationship for another man, and she reiterates on the album that she owns this all. But it’s also: nothing exists in a vacuum, and she makes choices based on emotions and information she has at the time, which is why it gives so much whiplash.

THE ALBUM

When you look at it as, the situation with the conman only happens because of what happened with the partner first and that the appeal of the conman and the fantasy he sells her is a direct reaction to that, it makes the “swirliness” of the music make so much more sense. And for much of it, even many of the “conman” songs on the surface are really “partner” songs underneath.

Fortnight

A suburban gothic allegory about a broken marriage with a distant husband with a wandering eye, which makes the rekindled romance with the neighbor so appealing. She’s miserable caged in her stifling house because she’s been abandoned by her spouse, so the reappearance of this past love reignites the passion that’s dead at home.

TTPD

“So tell me, who else is gonna know me?” “I chose this cyclone with you.” I’m gonna kill myself if you ever leave. Everyone knows we’re crazy. She’s laying it out there that she’s already in a dangerous state of mind, and she’s actively putting herself in more danger by pursuing the conman. “At dinner you take my ring off my middle finger and put it on the one people put wedding rings on, and that’s the closest I’ve come to my heart exploding,” spells this whole thing out so clearly: whether it’s an actual event (likely) or a metaphor for the promise he makes to her, the reason why it makes her heart explode is because it’s the thing she’s been waiting for forever with no movement, and here this person comes in and slips it on her finger in an instant like it’s nothing. (And eventually, as we’ll come to know, it is absolutely nothing to him.) You mean it could have been this easy this whole time?! (Well, no. Not until a certain other suitor makes his appearance later.) It feels like she’s finally getting everything she wanted in the blink of an eye! How lucky! How convenient! What was that about the get-love-quick scheme you say? (Unsaid: the reason why this feels so urgent is because there’s a sense that time is running out in so many aspects of her life and not just the obvious. Which reappears later on.)

Down Bad

“Did you really beam me up in a cloud of sparkling dust just to do experiments on?” sets the scene for this euphoric experience in the moment that starts to feel violating once the dust settles (which is then followed up in “Smallest Man” and the spy mission on her). The bridge spells out how he weaselled his way into her life, preyed upon (intentionally or not) her emotional state, sold her a dream and then vanished, without the benefit of hindsight yet we see later in the album.

The alien abduction metaphor is pretty brilliant, because it shows both how she was desperate to escape the place she found herself in, and how much it screwed her brain to then be left stranded when the affair was over. “[I loved your] hostile takeovers, encounters closer and closer,” is so evocative because it details how the situation came to be: his overtures under the guise of friendship blurred lines until he made her an offer that she eventually couldn’t refuse (hostile takeovers) as he infiltrated her life more and more intimately. The sad thing is that the song has parallels to how her relationship with the partner started too in earlier albums, in that they ran away to live in their own bubble (or planet) only for him to metaphorically abandon her as the years went on. (Oven, meet microwave.)

My Boy Only Breaks His Favorite Toys

Being continually emotionally broken down by a person who knows he’s hurting you but still acts the way he does. (The original voice memo version makes this even clearer and it’s rather heartbreaking.) “He saw forever so he smashed it up,” speaks to the loss of a future the person became scared of, and the original lyrics (“he saw forever so he blew it up”) somehow cut even deeper to me because it feels so much more intentional.

Also in the original version, “he was my best friend and that was the worst part,” also speaks not only to the loss of an entire partnership in the wake of this hurt, but also to the feelings of betrayal that the person you trust so deeply has the ability to hurt you in this way too, and how it’s a one-two punch of not only losing the relationship but also your closest confidant. (It’s like the sequel to “Renegade” and the missiles firing to me.) Again, there are shades of both/many situations in the song, pointing to an unfortunate pattern in some ways. The situation in “My Boy” is part of why she was so low, and why the “get love quick scheme” was so appealing later on. And it dovetails nicely into…

So Long, London

The most explicitly “partner” song that puts a coda on “You’re Losing Me,” and is Track 5 because it’s the emotional underpinning of how she got to where she was, and drives the events of the rest of the album. It spells everything out: He withdrew, she tried to fix it for both of them, eventually even that stopped working, he was oblivious to or minimized how badly she was suffering and his (in)actions couldn’t reassure her, he wouldn’t move forward on their future plans and stewed in his own struggles, she was spiralling out of control trying to hang on and ultimately felt like she was going to die if she didn’t leave.

But Daddy I Love Him

Like a direct reaction to “So Long, London” in that she breaks free from the death of one relationship and throws herself with reckless abandon to the next, fuck the haters. How dare you judge me, when the relationship you think I should have stayed in was killing me? (Dutiful daughter all the plans were laid. All you want is gray for me.) Fuck all of you, I’m going to choose whoever I want! (So what if I have a baby with HIM, huh?! I tried doing it the proper way and look where that got me so now we're back to square one) It’s again her imagining how wonderful and freeing this “wild boy” is going to be for her, and how wrong she’ll prove everyone. THIS TIME she definitely got it right. So what if she has to run away! So what if she scandalizes the whole town! They don’t know what she really wants or needs anyway! She’s the only one of her (hee-hee-hee) and she’s the only who gets to decides how this goes. (Because: she longs for control in a situation she’ll eventually realize she has little of it in, which we’ll find out is a recurring theme in her life.)

Fresh Out The Slammer

Also spells out what happened with the partner in the first verse and the pre-choruses, which is what makes the conman so appealing as the imagined jailbreak. The bitter loneliness vs. the sultry passion she builds up in her head as she awaits her release from prison is key to understanding the two sides of the story in the album. There’s this whole outlaw imagery (which is also carried through in “I Can Fix Him”), but it’s contrasted in the end with her and her reunited lover sitting on park swings like children with “imaginary rings” — because “Ain't no way I'm gonna screw up now that I know what's at stake.” What’s at stake is lasting love and the promises that come with it (marriage/family) that are precious and time-sensitive. The imaginary rings are both a nod to the youthful dreams of her and her new/old lover, but also has a double meaning to me because those promises aren’t built on anything together; they're made up, intangible. (They’re no more concrete than the plans that went up in smoke with the partner.) Like with most of the conman situation, it’s all a fantasy in her head that has yet to happen, and as we find out later in the album, reality ends up leaving much to be desired.

Florida!!!

Broadly speaking, it’s running away from your problems and wanting to disappear from your life. (But again: the life she’s disappearing from is the cheating husband she may or may not be feeding to the swamp-- another miserable marriage.) What kind of flies under the radar though is the “I don’t want to exist,” line, which points to her dire state of mind that led her to fleeing to that metaphorical timeshare down in Destin. In many ways about cheating death.

Guilty As Sin

Yes it’s the “masturbation song,” but again the nuance is that she’s left to pleasure herself because her partner has abandoned her emotionally and even physically, i.e. “my boredom’s bone deep.” To be blunt: they aren’t even intimate anymore, so she starts fantasizing about the guy she used to have chemistry with who’s reentered her life and is making moves on her. And realizing that she’s now finding release in another man (albeit imaginary) breaks her even as it reinvigorates her because she finally understands that the relationship she’s in is effectively dead. (“Am I allowed to cry?”)

Who’s Afraid of Little Old Me

This isn’t about relationships, but about society and its reaction to them in a general sense. But again, she’s left to stew in all this anger and hurt as she’s been abandoned at home, then abandoned by public opinion, and the public attack on her is part of the origin as well as the end of that story. The trauma inflicted upon her detailed in the song is the reason why she felt trapped in the first place, which led to the decisions she’s made and habits she’s leaned on ever since.

I Can Fix Him (No Really I Can)

This is one of the few songs that is the most completely conman-coded, and shows when the delusion finally breaks at the end of the song. She spends the whole song being like, “no really, I alone can make him better! You’ll see! I know he’s gross, but he’s mine! It’ll be fine I swear! You don’t know anything! Uuuuuum hmm wait actually what the fuck—“

Loml

Oof. THE song. Again the surface reading is about the “conman” who comes in and sells her the lie, but the pain is because all the dreams she writes about are HER dreams and implied that they were the dreams she built with her partner that the conman sold back to her. I could do a deeper dive on this but most of the song is applicable to both relationships, which not only shows the “swirliness” of her writing, but also how they both ultimately did the same thing to her in different shades.

The bridge and the last chorus are kind of fundamental to understanding it all, and her ending it with “you’re the loss of my life” is about, among other things, how falling for this trap blew up the life she built and dreamed of for good. (I could talk about this one forever.) “You shit-talked me under the table, talking rings and talking cradles” to “Our field of dreams engulfed in fire” is a hell of a line and progression, and again, indicative of what the real driving force behind the whole album is. The shit-talking is because he took her dreams (of marriage and children) and hyped it back up to her tenfold whether in a moment of his own delusion or for more nefarious reasons — much like how the man prior kept promising these things but never followed through, which left her vulnerable to someone who appeared to offer them enthusiastically. The field of dreams isn’t just the one with the conman, it’s the one with the longterm relationship she’d built the dream with in the first place, because the conman’s actions are part of the reason the LTR went up in smoke. (Not the reason for the rift, but the consequence of the final break.) And THAT is why it’s the loss of her life, so completely.

When she says “I wish I could un-recall how we almost had it all,” IMO it’s not just the fake future that the conman lures her into, but also (and perhaps mainly) the once-real one she had with her partner and the loss of which that made her susceptible to falling for the con in the first place. There’s honestly so much between the lines in this song that covers every theme and speaks to the grief of seeing the life she imagined slip away, slowly by the first man then annihilated by the second.

I Can Do It With a Broken Heart

The juxtaposition of “He said he’d love me all his life, but that life was too short” and “He said he’d love me for all time, but that time was quite short” sums it up to me (and parallels “loml”), because they are two different situations, but they cut her just the same. In the first, “that life” IMO was the life they’d built with the dreams that went along with it and it was too short because he never followed through, and in the second, the “time” was quite short because it was the frenzy of the whirlwind romance that fizzled as quickly as it began. The life that was too short led to the time that was quite short.

The Smallest Man Who Ever Lived

This is definitely THE conman song. The rage, the shame, the violation, it’s all in there. But the key to it is the bridge and the espionage imagery woven through it. A honeypot scheme is when spies target a mark and seduce them to gain their trust and their privileged information for their homeland. So her likening him to a sleeper cell spy who set her up just to mine her deepest secrets and use them against her is a heavy, loaded statement. And implied: that valuable information she unknowingly held were her longings of marriage and family (the aforementioned shit-talking about rings and cradles she never got to have), and more importantly, those dreams preceded him reentering her life and then beginning his mission on her.

The insinuation then is: she confesses these are her deepest wishes which are now seemingly unattainable in her current situation (e.g. with her partner) -> he convinces her HE will give them to her and make the dreams she pines for come true -> she falls for him and blows up her life to make it happen -> he gets what he wants (thrill of the chase/sex/the idea of her/whatever his intent was) -> he abandons her when he gets what he wants, or rather it isn’t what he wants or can handle -> she’s left a) all alone b) with dreams unfulfilled c) with no answers d) feeling used at having her most sacred wishes used against her.

Again, the song is unquestionably about the way the conman absolutely destroyed her, but he was able to do that because there was this thing she wanted more than anything, that was dying in her previous relationship, that he was able to prey upon to seduce her, then discarded her and her dreams as soon as it was inconvenient for him while absolutely hollowing her inside out. (And again: the devastating thing is that this also applies to other relationships she’s written about, in different ways.)

The Alchemy

Not about either the partner or the conman directly, but it (loosely) touches on her finding herself after the whole oven-to-microwave experience and opening herself up to life and love again. #GoodForHer

Clara Bow

This isn’t about the romantic relationships on the surface, but it is about how damaging the entertainment industry and public life are on women, and how women are only valued for their beauty as commodities until they can be discarded and destroyed in the process. Which I think plays into the circumstances that led her to make the decisions that she did years ago, and why she makes the ones she does now. (But also, being valued for physical traits and appeal for the male gaze brings us to…)

The Manuscript

The “original sin” that kicks off all of this. Again, at first light this isn’t about the partner or the conman, but the person it is about is the reason why she has made all the decisions she has ever since in relationships (and that’s Mr. Plaid Shirt Days from “All Too Well”). The realization that her first serious adult relationship is what cemented these patterns, and this view of herself and her worthiness in relationships, is profoundly sad. An older man who valued her for being so mature for her age and implying that the mature activities ahem associated with that were the performance benchmarks in her ability to carry a relationship, only to leave her, was earth shattering. She placed her faith in this person, but then the way he treated her changed her view of love and of herself.

She took his innuendo about “pushing strollers” as a sign of potential commitment, whereas he ultimately meant it as foreplay, and she was too young and naive to know the difference. So not only did she learn from that that this man (and men) didn’t view commitment and family the way she did and that it was something to be toyed with, but she also learned that her value to them among other things was sex. Imagine being an idealistic 20 year old and your boyfriend ten years your senior tells you, “if the sex is anywhere near as good as our dates have been, we’re going to be making babies before you know it,” (e.g. this is relationship is serious) and then he dumps you: does that imply that the sex was not in fact that good? (E.g. that you’re not worthy after all?)

No, obviously from this side of life, it’s because he was a commitment-phobic playboy, even if he did love her, but she couldn’t have known that at 20 and instead internalized that shame. But, it did send her on a path of how she approached sex and love and relationships for over a decade afterwards. And her coming to the realization that that first act of (perhaps unintentional) manipulation is what informed her actions thereafter helped her break the pattern. Her worth to men is not just sex, she has value and her hopes and dreams have value, she doesn’t have to change into a different person to please anyone, because if that is what they want, they won’t ever want her anyway.

It’s been described here on Tumblr by people more eloquent and astute than I as a song that encapsulates the album as this: one did it slow (partner), one did it fast (conman), and one did it first (first love)— and that is haunting. After years of men minimizing her dreams and desires, if not outright using them against her, she’s finally at the point where she can let it all go and move on for good. (There’s a whole other tangent about consent and shame and manipulation, but that’s an entirely different kind of discussion. But it is so devastatingly contrasted with “you said if we had been closer in age maybe it would have been fine, and that made me want to die.”)

THE SUMMATION

This is just my interpretation of it, but in going through the standard album, it feels pretty clear how cohesive the album is about a story of love and loss and grief, then reckoning with what caused it all in the first place that set a person on this path. It’s a formative experience at a young age that was traumatic and led to certain coping mechanisms and a shaping of one’s self-perception, as well as the reaction to external pressures that try to dictate behaviours and influence how one feels one deserves out of love which makes it harder to know when one absolutely deserves more and better. And leaves one struggling to cope with loss when there isn’t anything else to hold onto. Then in light of one’s life blowing up, learning to find oneself in the aftermath all over again.

On another tangent that is somewhat related to the theme of loss, the way she writes about the two main muses on the standard album also ties into how the situations converged to create absolute carnage on her emotional and mental well-being. With one situation, she’s talking about a concrete life that crumbles under the weight of their struggles; with the other, the entire thing is a fantasy that she builds up in her head, and when it comes to fruition it falls far, far short.

If you look at the “microwave” (conman) relationship, you realize that almost everything she writes about it happens before it actually becomes reality, and it’s mostly her imagining how great it’ll be, but with few exceptions, when she writes about what actually occurred, it doesn’t even come close to living up to her expectations. “Fortnight” is an imagined future where she escapes to Florida and his touch finally starts her stalled engine (ahem). “TTPD” is perhaps the most positive retelling of their time together, but even that implies he was better off stoned and when he sobered up he succumbed to his demons all over again, and more importantly she conveys how she also is in extreme distress, barely concealed by the veneer of being infatuated with him. (E.g. saying to that she’ll kill herself if he ever leaves her — the implication is that she is absolutely serious about it when she “felt seen.”) And that the warning bells are going off in her head, but she feels like this person is the only one she can be with (because they’re equally fucked up and the chaos he brings into her life makes her feel alive when she felt so close to death).

“Down Bad” is the most explicit about being in love, but she’s also left completely confused and disoriented by him disappearing, wondering if any of it was real and the seeds of violation creep into her consciousness (“did you really beam me up in a cloud of sparkling dust just to do experiments on?” “Waking up in blood.”). “But Daddy” is her imagining she can tell everyone to fuck off for telling her what to do with her life. “Fresh Out The Slammer” is her fantasizing about this man while feeling trapped in her relationship — but never in the song is she actually reunited with him; she’s using him as the projection of all the things she’ll make right after being wronged by her partner. “Guilty As Sin?” Is very obviously about her fantasizing about sleeping with him, but again it’s such a minefield for her because it hasn’t happened yet; they’ve only just reconnected. “I Can Fix Him” is the only song other than “TTPD” that shows them actually together, and it’s the one where she keeps saying, essentially, “I know he’s gross but I can rehabilitate him into an upstanding person, trust me,” until the mic drop at the end of the song where it finally hits her that no, she can’t, because this is who he is, not the person she’s built him up to be.

“Loml” is when it all comes crashing down, and the song emphasizes everything he did and told her, e.g. that she’s the love of his life, but she doesn’t return the sentiment in the song about their time together. Because now that it’s past tense, she knows it wasn’t actually love. (And says as much in the album epilogue poem.) “Broken Heart” is her reeling in the aftermath, but again, it’s “he said,” not “I loved.” And then there’s “The Smallest Man,” where she eviscerates him: he also pursued an idea of her but didn’t care much for the real her in front of him (who else is gonna know me?), he love bombed her only to hurt her (crushing her dreams), he was constantly stoned (and not just in the funny munchies kind of way), and he wasn’t even a good lover (despite the fantasy she’d created before). That last point is especially striking because she spent albums singing about the importance of and pleasure in (sexual) intimacy in the relationship with her partner (sometimes to both their own detriment) and how it was at times the only way they could connect, but in this case, the idea she hyped up and acted on in her head about this lover never panned out in practice. She spells it out in the epilogue: it wasn’t a love affair, it was a mutual manic phase.

In contrast, there’s a lot more tangible action in the “oven” (partner) parts of the album, showing how hard she tried to make the relationship work in real life instead of just in her head. All of “So Long, London” is her detailing how she tried to break through to him and support him, even when he rejected it and pushed her away, thinking she could carry them both until they ultimately sank, but she did it because she “loved this place for so long.” (The place? Not just the city, but the home and perhaps most importantly, him.) In “Slammer” she stayed with him even as things disintegrated for “one hour of sunshine.” (E.g. holding onto the rarer good times even as they were fewer and further between, hoping things would eventually turn around.) And like in “London,” she held on despite people in her life pleading with her that it was hurting her. (Which is also echoed in “Slammer.”) In “Guilty” her boredom is “bone deep” because the passion that once drove their relationship (and papered over their problems) has finally gone out too, so there’s nothing left to hold onto, leading to her fantasizing about the new suitor, which makes her realize her relationship has passed the point of no return. “Loml” is about the conman on the surface, but the undercurrent of all the things she says about him is that he was co-opting the dreams that she was clinging onto for dear life in the previous relationship, which is why the con is so painful; the field of dreams he sets ablaze isn’t just the fake painting he sold to her, but the original artifact (her life with her partner) too.

All the physical and emotional labour she puts into the relationship with her partner ends up reflected in the fantasizing she does in the one with the conman, which is why it is so confusing in the moment and so lethal when he leaves her without any answers. She wants to get married and start a family with her partner which keeps getting stalled; the conman mock-proposes which makes her think he’s immediately serious (“TTPD,” “loml”). She feels caged by having to hide with her partner and shrink herself; the conman promises he’ll stand by her side publicly and let her shine (“Smallest Man”). She sinks into a deep depression in her loneliness as the relationship with her partner careens off a cliff; the conman convinces her they’re meant for each other in a them-against-the-world way (“Down Bad”). The intimacy (in all senses of the word) in her relationship with her partner fizzles; the conman stokes the fire by sending her secret messages and reigniting passion (“Guilty”). She spent years trying to help her partner to no avail; the conman makes her think she has the power to reform him (“loml”). She feels misunderstood by her partner; the conman acts like he’s the (only) one who truly gets her (“TTPD,” “loml”).

In short: there’s nothing that the conman does or says that isn’t a direct response to what her partner did first, and it’s even worse because the conman knew how much her partner’s actions hurt her and he used that privileged information to paint a picture of what he could give her, but in doing so in some ways aimed at her heart with even deadlier accuracy. (I’ve likened it to him borrowing someone else’s life for his own joyride, until he crashes the rental car and flees the scene.) It’s why in the aftermath, the difference in emotions are so different: she feels nothing but rage and violation towards the conman for getting in her head and using her, whereas her feelings towards her partner are more complicated. There’s anger (at her lost youth and being taken for granted), but there’s also sorrow (at their lost life and future), disappointment (that he never could step up the way he’d promised or she’d needed), even compassion (towards his struggles) and a tiny measure of appreciation (for the good times they did share).

When you look at the bigger picture, the story the album paints is just so painfully normal. You have two people (Taylor and her partner) who once loved each other deeply, and despite warning signs early on telling them they have fundamentally different needs and ways of living their lives they fight like hell to make it work (the epilogue) until those warning signs become grenades that destroy their home (“My Boy,” “London,” “Slammer,” arguably “loml”). Having already been through at least one rough patch/break/breakup that she felt almost destroyed her (harkening back to Midnights on “You’re Losing Me,” “The Great War” and “Hits Different”), the final and fatal downward spiral of the relationship (“YLM,” “London”) and the grief over losing that future sends her into a tailspin, just at the time where a flame from the past (the conman) reenters her life and tells her all the things she’s been longing to hear and feel (“TTPD,” “Down Bad,” “Guilty,” “loml”) and, crucially, missing from the relationship that was once her entire life.

So in her panic, she falls prey to the (empty) promises of the past lover (“loml,” “Smallest Man”) and decides he’s actually what will save her from the free fall, because the alternative (that she will end up in a situation she doesn’t think she can survive) is too painful to bear. When she finally acts on these circumstances (leaves her partner/runs to the conman), she snaps, acting on pure emotion and adrenaline (“But Daddy”), but before she knows it, the new lover abandons her, and she’s left to reckon with the fallout of the episode and process everything that has happened (“Down Bad,” “loml”) — with the conman, with her partner, with the choices made in her adult life personally and professionally which leads her back to the moment she feels set her down that road at the start.

The TL;DR of this unintentionally long essay is that the reason the conman affair was so serious was precisely because it was meant to fulfill the promise of what was her life with her partner. To me, a large part of the story is that she projected that life onto the conman (or he projected her life back to her for his own purposes) because she wasn’t ready to deal with that massive grief and the life raft he offered felt like the only alternative to an even darker end. Whether the conman actually believed what he told her, or he went along with it or encouraged it because it served his purpose, we’ll never know, just like we’ll never know the finer details of what went on (nor should we). But no matter what, the album is just an extreme deep dive into all the ways grief can consume us, and whether it’s a long, drawn-out death or a sudden, inexplicable one, it can turn a person’s life into such a trainwreck that they act in ways unfathomable to even them, let alone the people around them. It can also unleash repressed trauma and mental illness that can crater your sense of self. And when those situations are compounded? It makes for a nearly impossible type of breakdown to unpack. (Which is why you might need a 31 song album to process it.)

#What if i told you I’m back lol #Time for me to finally just post the thing after it’s been sitting in my drafts for so long so I can rid myself of it lol #Writing letters addressed to the fire #the tortured poets department #Consider this a treat before Eras comes back for its swan song leg idk #Would you believe that as long as this is #i deleted quite a few chunks of it from the original draft i sent to a friend(s) in the interest of ~propriety~#Because they were a little too rambly and um— ~speculative~/personal/etc and we are flying too close to the sun #And i tried to be as tactful and more or less stick to things we can point to in the music and such #So hope people catch my drift lmao but also iykyk i guess #I have so many other themes I want to talk about but I never have any time #I have so much more i want to say and yet #wavesoutbeingtossed: The Anthology #Also if things get weird i will turn off reblogs/delete the post tbd #This is not an invitation to get into muse ranting or debate in my inbox and I ask that you please respect my boundaries :)#Midnights #lover #folklore #evermore

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sepublic · 7 months ago

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The Owl House Pilot Leak!!!

Oh my titan.

The Owl House’s original pilot episode (basically a bunch of voiced-over storyboards) just got leaked and OMT. Watching it felt like experiencing the original magic of the show all over again… Reminding me what it was like to fall in love the first time!!! The hype and rush, the excitement to type down my thoughts after a new episode, analyzing and gushing over both big and small moments, the details!!! The pilot has reiterated all over to me again why I love these characters, from Luz's powerful earnestness, to Eda's chaotic demeanor! It’s like having the whole show open ahead of me, the possibilities endless when knowing this is just the beginning and we could go anywhere from here!

What’s interesting is that Luz’s conflict with Camila doesn’t really exist here; In fact Camila isn’t present or mentioned at all! What brings Luz to the isles is Amity, who’s been learning in the human world, under the guise of being a human by disguising her ears! It’s alluded to that Odalia and Alador made her do it, though we don’t know why…

But WOW that must’ve been so meta, doing S3 with Amity stuck in the human world with Luz, hiding her ears! It must’ve been a fun way to bring back the older concepts in new form! And indeed, we see a couple of stuff we’ve already gotten glimpses of, such as the storyboards of Luz offering her friendship art to Amity! I love that we get to see the actual scenario of how Amity accidentally defended Luz in the first place, since we heard that but didn’t get to see how it turned out.

It’s interesting that Lumity is basically the inciting incident of the story, though I can see why the final version opted instead to emphasize Luz’s conflict with her mother. Especially with how she chooses to stay in the isles in the final draft, which leads to guilt over lying to her mom, having her ‘coming out’ moment that eventually occurs in Yesterday’s Lie, etc. So more agency when it comes to Luz losing her access to the human world. Plus in the pilot, there isn't the same emphasis on Luz trying to live out her dreams of being a witch, and her obsession with stories that ties back to Manny and forms the basis for a lot of other themes and arcs.

That said, I also appreciate what this alternate take offers, and how Lumity helps tie everything together, it really is the queerness that is such a foundational part of the ‘weirdness’ theme that the show is about, and it’s intertwined with the pilot! God Luz being heartbroken when Amity dismisses the drawing… And then crying when Eda compliments it without realizing who it’s about! Or maybe she did, she could’ve recognized Luz there and figured out a way to stealthily make Luz feel better…!

I love Luz routinely lock-picking her locker because she presumably forgot the combination! And it’s interesting that we have a setup of there being multiple dimensions that the Boiling Isles has access to, and not just the human world and Demon Realm. That plays a role in the climax, more on that later. Given we have what is basically an airport for different dimensions, I wonder if we would’ve seen Luz find her way back home much earlier on, under much less intense circumstances, in a S1A episode?

The ‘Emperor’ is also alluded to in the pilot, which we didn’t get actual mention of until the fifth episode in the final show. He apparently dislikes humans and wants Luz brought over to him, is this still operating off of the ‘Pupa’ version of the character who claimed to speak on behalf of the true ruler, trapped in their metamorphosis by him? So maybe he wasn’t always human, or maybe this is Belos’ hypocritical way of ‘protecting’ humans by keeping them away and in blissful ignorance of the demon realm.

We also establish Hexside much earlier! IIRC Hexside was always part of the show, but executives pushed for it to have more emphasis, which the crew continued to follow through on in S2 onwards because that had already been set up. Lilith is the principal, and I recognize the storyboards of her, including her bat transformation! We get a Tinella Nosa cameo, we see Amity, and there’s also a brief cameo of Willow too! Nice way to set her up before her proper debut.

The ‘barrier’ containing King’s crown turns out to just be a regular human locker, which makes me wonder if the writers updated the final draft to make it a force field that only allows humans through, because of the whole Belos twist. Which makes me wonder if in this draft, Belos is Pupa, who never was human, or maybe they realized the opportunity to insert foreshadowing into a big twist regarding the main villain. Makes me wonder if the house we see Amity enter in the pilot, which is on sale, would've had any significance like in the final show. Love how Tinella Nosa is a student at Hexside, and also Dana having to occasionally insert lines for Wendie Malick and others was great.

Lilith is a lot more openly adversarial, which is different compared to how her actual debut provides a softer side to her; I imagine this would’ve been apparent in a later episode of the ‘Pilot AU’, and her transformation has me curious; Was she originally the one with the curse, but then the writers changed it to Eda? Or did they both have a curse? Eda also has an owl form she can summon and control at Will, maybe all Clawthornes have a beast mode that’s less of a curse and more of a talent. Lilith ends up trapped in another dimension, which makes me wonder if she’d have a temporary replacement –possibly Pilot Bump- or if she’d return offscreen. We see the portal key get destroyed under much more casual circumstances, though it’s less as big of a deal for this and the established ‘dimension port’ we saw before.

(Also, Amity recognizing Luz in the hallway… Everything to me!!!)

Warden Wrath doesn’t exist and neither does the Conformatorium, it’s Lilith and Hexside. With her as principal and Amity as student, I wonder if we would’ve gotten more of their relationship in the pilot AU, if Covention was a way of carrying over that former connection since Amity would be a teacher’s pet in either version of the story. And speaking of ties to Covention, it’s interesting is that Eda’s chest gem seems to be linked to the Emperor’s Coven, as ‘Pilot Kikimora’ uses it to control her. Curiously, we have a scene at the end mirroring what we got with Lilith in the final draft of the show!

I feel it implies that Eda DID join the Emperor’s Coven with Lilith, if only for a brief moment, but then defected; But the chest gem is basically the pilot version of the Emperor’s sigil, except with the explicit function of being a shock collar. I find it interesting that Eda still has the mirror to contact the EC with, instead of just getting rid of the thing. Is she a rogue agent who hasn’t totally cut ties, because she can’t? Won’t?

And the fact that Pilot Kikimora can just shock Eda at will makes me wonder if the Emperor is low-key just letting Eda roam around, which makes me wonder if he’s aware of the familial connection, is using Eda to find Luz, already knows about her doing that because of the time loop, etc. We’d of course have gotten an episode where Luz finds out about Eda’s connection and helps her deal with the gem… I realize now that Luz learning Eda also wanted to join the EC with Lilith is a carryover of this idea.

I can see the ups and downs between both versions; The final draft sets up Luz’s conflict with Camila and the reality camp, which is foundational to her character arc throughout the whole show. Her pain over being ‘sent away’ is just so vital that I appreciate its inclusion in the first episode. But I also like the inclusion of Lumity and the earnest desire to be friends with someone who showed her, unwittingly, any kindness at all! We get explicit bullying from Luz’s peers in the pilot, but in the final draft we also get her thoughtlessness that plays a big part in her S1 arc. And Luz’s arrival in the isles is more intertwined with Eda and King in the final version, which also feels right; The show is about these three in particular!

All in all, this was wonderful to watch! The magic was experienced all over again, not just in watching an episode, but also commentating on one that was just ‘released’ as well? I thought the last time I’d do anything like this was with the series finale Watching and Dreaming… But as Luz said, it really comes full circle with watching the first episode all over again! So maybe we have other stuff to still look forward to after all… At the very least, we have an eternal anticipation with an unexplored universe ahead of us, that will never reach completion; So it's like our ever-lasting final gift from TOH, and a good last one. So until next time: BBBBBYYYYYEEEEEEEEE!!!!!!!

#the owl house #luz noceda #amity blight #lumity #eda clawthorne #edalyn clawthorne #lilith clawthorne #analysis

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perseidlion · 6 days ago

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So I am a certified Catwin shipper. I have written a series that currently sits at 90k words that is casefic but also them getting together. But I am also a multishipper and have written some Payneland stories as well.

So I was understandably quite happy to hear we would've gotten Catwin in S2 because I love the dynamic and I love Lukas Gage and his performance.

But it has made me very sad to see how some people are genuinely upset by this news. I don't think it's justified, frankly. People are doing a lot of filling in the blanks, guessing, and supposition. Just because Catwin would have happened doesn't mean Payneland wouldn't have. Also, we have no idea the context in which all of this would have gone down.

It's important to remember that The Cat King also went on a journey and changed as a person throughout season 1 (as did all the characters.) He is not the same person who slapped the bracelet on Edwin when they first met and not just because he died and was resurrected.

He's matured, settled and grown. It's very possible this arc would have continued. Even if you hated TCK in S1, you may have come to love him in S2, or at least hate him less. Redemption arcs are great fodder for stories and I have no doubt the writers and Lukas would have done that kind of arc justice.

Or maybe Edwin would have had his hot girl summer and TCK was the same old lothario. In which case, he'd definitely be no threat to Payneland endgame. This scenario would make me sad for TCK because he does seem to have genuine feelings for Edwin beyond the sexual, but that was certainly a way they could have gone with it.

My point is, we're missing a lot of context. If you were to take plot points of S1 out of context as well, it would be very hard to envision the final product.

I mean:

Niko gets infested with dandelion sprites that nearly kill her. These sprites manifest with cartoon sparkles around her head and they feed on attention. When they get out of her brain, they're tiny snarky humans she keeps in a terrarium.

Jenny gets set up by Niko with a quiet librarian who turns out to be psycho killer stalker.

People jump off a lighthouse and get swallowed up by a giant angler fish who is siren-ing them to their death. Their ghosts linger, and this annoys the ghost who mans the lighthouse so he hires the boys. Charles yeets the Night Nurse into the fish, and inside she has a talk with an oddly calm and optimistic man. Oh, also the fish is called Angie and she didn't do any of this maliciously.

My point is, this show is camp. That's part of the charm of it. Camp plotlines sound absolutely wild when you distill them to one-liners. When you add in inciting incidents, context and character interactions, these turn from wacky scenarios into full, entertaining stories.

Please don't catastrophize based on crumbs! Whether we get a S2 or not, it's really not worth getting that worked up over. We can't draw conclusions based on what we've been given. It's all guesses, and it could have changed a million times before the episodes were finished.

Also please don't get upset at Catwin shippers for being happy about this. We just wanted to see more of Lukas and George interacting. Most of us are Payneland fans, too and understand that would be the most likely endgame.

#dead boy detectives #dbda #fanfic #ao3 fanfic #ao3 writer #dead boy detectives fanfic #cat king #the cat king #the cat king discourse #the cat king analysis #catwin #dead boy detectives season 2 #gameoden

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tiredandoptimistic · 3 months ago

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Buckle up, it's Mabel Pines hours.

I keep thinking about her choice at the end of Dipper and Mabel vs the Future, when she takes "Blendin" up on his offer of creating a time bubble. I know there's been a million words typed about this, but she really had nothing waiting for her back home.

I know the show tends to act like Mabel was the popular one while Dipper was the outcast (like in the Valentine's flashback), but I genuinely can't believe that Mabel was 100% accepted for her freak self in middle school. Yes, she's bright and bubbly, but she's also deeply strange and borders on disturbing in a lot of ways (to be clear, I mean this as a compliment, but most seventh graders probably wouldn't appreciate her grappling hook and Mabel Juice). Maybe people liked her on some level, maybe she was social, but she didn't have friends like Candy and Grenda in California. Think about it, she never mentions anybody specific back home; almost like there isn't anybody she actually feels close to on a deep level.

She was probably okay like that for a long time. She didn't need friends who understood all of her quirks, because she had her brother for that. Dipper might be pretty different from Mabel on the surface, but in every way that mattered he was there for her 100%. Nevertheless, I think there was a lot of loneliness building within Mabel for a long time, whether or not she was aware of it. She may have thought she had everything a person needs, until she got to Gravity Falls and experienced for the first time what it was like to be genuinely accepted on every level; that moment of "oh this is what friendship is supposed to be like," the realization that all those previous dynamics provided company but not companionship.

So then, it's the end of the summer, and Mabel has to give up that safe space and go back to the real world. It sucks, but at least she's got Dipper to go through it with her. No matter what, she's always got her twin as her anchor, to keep her steady in any situation. Except; this time, he's not coming along. He gets to choose to stay in the adventure while she has to return to reality; he chose the part of him that's a scientist over the part that's Mabel's brother.

Now, Mabel's left with the prospect of returning to a life that's seeming evermore unfulfilling since she's finally got to experience a place that embraces her for all that she is. She's gone through a whole summer of the most incredible adventures, and has to go to a place without a single person who'll even believe her stories. Adding on to all that, we know from The Book of Bill that Dipper and Mabel's parents have been fighting. That's a rough as hell thing to deal with as a kid, but having a sibling like Dipper would have taken so much of the pressure off. Family is supposed to be the most stable thing in a kid's life, but now Mabel's parents have thrown their whole family dynamic into doubt, and she doesn't even have her brother to rely on as a point of consistency. It'll just be her, alone, unsure of what will happen next.

This isn't even touching on Stan and Ford, and how Mabel is literally living with an example of the worst that can happen when twins drift apart. Maybe once upon a time she could have had faith that even living in different states wouldn't weaken her bond with Dipper, but now she's seen how Ford prioritizing his science over his sibling lead to the two of them basically hating each other for over forty years (vast oversimplification, and I do completely get Ford's decision to go with West Coast Tech over treasure hunting with Stan, but it was undeniably the inciting incident in the complete implosion of their relationship). If Stan and Ford used to be just as close as Dipper and Mabel, then maybe a bit of separation is all it'll take for them to end up like their grunkles.

All this to say that I really, really get why Mabel was so desperate for anything that could make summer last a little longer. She'd just spend a day being beaten over the head with the fact that growing up is gonna suck (no more friends, no more brother, no more Gravity Falls; just high school hell), and she's lost the person who could have kept her steady through the transitional phase. Also, she was twelve. Middle schoolers are not known for their objective decision making.

I know we all love Mabel for what a weirdo she is, but it's important to remember that the world is not kind to weird little girls. We've literally seen it play out within the fandom. She needs someplace safe from the judgements and cruelty; and while summer can't last forever, she deserves to at least keep her brother by her side.

#i may be projecting onto mabel like crazy here #but believe it or not this doesn't even scratch the surface of my incredibly intense personal feelings about her #mabel pines i wish they hadn't made me hate you but i'm here for you now #mabel pines #dipper pines #stan pines #ford pines #gravity falls #the book of bill #my analysis

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zilodak · 6 months ago

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sorry if this is kind of a dumb question, but what do you think is a good way to develop the actual plot of a story you have a loose idea of? i've basically had a bunch of characters, themes, concepts and pivotal moments held together with bubblegum and tape in my head for almost a year now, and i am really passionate about these characters and ideas, but have like a mental blockage when it comes to actually arranging them together and coming up with an actual narrative to put them in. it's weird bc i really wanna do something with them, but it's like my brain is scared of comitting to an idea that might not hold up to the maybe overly-grand expectations i've built up over this time for an actual story

I think that first of all, you need to come to terms that the finished product will most likely not be what you planned. And that's okay! You'll realize when you start to put pieces together that sometimes the themes you thought of and the scenes you're fond of, may not make it to the final story. Your readers will not know that unless you make your thought process public so don't beat yourself over the head. Your script and story changing is a natural part of the process, you just need to know when to stop picking on it and let it be.

I start by putting my ADHD daydreams onto paper. Everything I think of ends up in a folder, no matter how stupid or incomprehensible the idea might be. Put a pin in that, I'll come back to it later.

I'm sure you've seen this diagram or something similar before.

Almost all stories have a conflict and climax, yes even those you think are boring and slow. I'll start by mapping out the conflict of the entire story first. What are my protagonists struggles? Who are they struggling against? Once I have that figured out, I'll think of the resolution. What happens in the end? Is it happy? Sad? Bittersweet? Will they succeed in overcoming this conflict? Partially? Not at all? Talking about overcoming the conflict, what happend at the height of the story? Is it a big action scene? An epiphany? An argument between characters? Once we have that settled, what can lead up to that climax? Now this is the fun part. Remember that folder with all the possible daydreams? Let's lay them out there and put a question mark on them. You can narrow them down as you start thinking about what makes sense in context of your climax and what doesn't. Finally, the beginning of your story (and the inciting incident). How does it start? What makes sense in this context? In the middle of the story? At the very beginning? What triggers the conflict? What will you be exploring? What will keep the audience on their toes?

Once I have that figured out, I'll start to individually brainstorming possible chapter scenarios. I'll plan out a plot structure for the chapters, etc etc. Rinse and repeat.

Tadaaaa ~ before you know it you have the first draft of a book! Now you can narrow it down even more, and pick on what does or doesn't fit! Enjoy!

#asks #anon #long post

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sarahowritesostucky · 8 months ago

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📖"Temporary Custody"

Rating: Explicit

Pairing: Steve x ofc x Bucky; Steve x Bucky

Word Count: 4861

Tags: Dom/sub, bdsm au, dom Bucky, sub reader, hurt/comfort, enemies to lovers, gay sex'n'stuff, straight sex'n'stuff, Steve being a literal Golden Retriever, mental health issues, dub-con, forced submission, referenced childhood abuse and resultant mental health issues, bakery au, m/f/m, gentle domination, total power exchange

Summary: The stigma and shame of being a submissive has kept Mary unfulfilled and in the closet her whole life, until an inciting incident leads to Bucky and Steve taking her in and giving her everything she was always too afraid to ask for.

Trigger warnings: This story contains themes of eating disordered behavior, body image issues, childhood abuse, self-harm, mental illness, and alcohol abuse.

Wait! I haven't read an earlier chapter of this fic! Story Masterpost

11. Palmiers

Bucky

Because he’s on the far end of the spectrum, Bucky’s sex drive is affected by his condition. He wakes up hard almost every morning of his life, and Steve doesn’t need much encouragement to get himself worked up into the same state very quickly. Mutual morning jerk offs were always bound to become part of their routine.

They take a shower and stand toe to toe, hands sliding and groping all over each others’ slick bodies, pulling on their cocks until both of them are shooting off against each other’s bellies. The water washes it away, and Steve gives him a deep, happy kiss. “Mmm. Mornin’.”

“Blegch. Go brush your teeth, you heathen.”

Steve laughs and gets out of the shower. Bucky stays in for a few minutes longer, adjusting the spray to its hardest setting and letting the hot water beat down on his back and shoulders. He sighs and stretches his neck this way and that, trying to get his vertebrae to pop, but his muscles are all too tight, and the stretching just seems to make it worse. Bucky drops his head in defeat. In all honesty, his shoulders and neck and back are all pretty fucked after months of near-constant use of his prosthetic.

Steve’s right: he doesn’t usually wear it this much. And he’s also right that Bucky’s been wearing it all day every day because he wants to feel powerful and able bodied in front of Mary. As per usual, Steve is the first one to have noticed what maladaptive behavior pattern he’s doing and why, and pointed it out to him. It really is for the best, Bucky knows. Because he can’t sustain wearing the arm all the time anymore. The thing is just too damn heavy.

The engineers who designed it have made tweaks and adjustments over the years. They’ve done all they can to lighten the load as much as possible, but the thing still weighs over twenty pounds. Twenty pounds doesn’t sound like much, but when it’s pulling on the same muscle groups day in and day out, everything in Bucky’s body winds up getting strained and unbalanced. He understands better now, how women fuck up their necks so badly from shouldering their purses (or their tits) around. A little bit of weight makes a big difference.

As a Dom, Bucky may have a tiny problem admitting when he needs help. He has to be in quite a bit of pain, trouble, or both, before he’ll ever speak up and allow himself to be vulnerable like that. It’s an inherent behavior that shrinks have been trying to therapize and medicate out of him since he was a kid, but nothing ever changed it much. Falling in love with Steve helped; Bucky can let himself be more vulnerable around him. But even still, it’s no small thing that he regularly approaches his husband to ask for help in getting his arm back on correctly (Bucky can do it, but it’s a pain in the ass, getting the mechanism lined up just right before it’ll take).

He gets out of the shower and dries off, then approaches Steve with the prosthesis. “Gimme a hand?”

Steve makes a cheerful noise of acknowledgement around his mouthful of toothpaste, spits and rinses, then takes the arm from Bucky. He lines it up just so, and then Bucky feels the deep shudder of the arm’s inner workings coming to life as they recognize their mate. The arm attaches and Steve lets go.

“Thanks babe.”

“Uh huh.”

It’s as Bucky’s bending over and pulling up his underwear and joggers that a spasm runs through his back and he cries out in a pained, “Ah!”

“Babe? What’s wrong?”

Gritting his teeth, Bucky slowly stands back up. He’s able to get his pants up, but when he tests the movement of his neck and shoulders, the pain flares again. It feels like everything between the base of his skull and his mid back is seizing up. “Fuck,” he hisses, frustrated. It’s his day off. He’d been planning to go to the gym for his long workout.

Steve steps up and puts a worried hand on his left shoulder. “Babe? Do you need it off?”

“No. I need some painkillers and a magnesium tablet,” he grunts, already turning around (full body, because turning his head is a bad idea right now). “Fuck.” He starts off for the kitchen.

Steve follows along with worried protests, telling him to lay his “stubborn ass” down and he’ll get it for him. Bucky ignores him and goes to the kitchen cabinet where they keep their supplement stuff. He winds up yelling again when he tries to reach up and grab the ibuprofen. “Fuck!” he says angrily.

“Babe, I said to let me do it,” Steve scolds, his hand back on Bucky’s shoulder. “And let me take this off. It’s hurting you.”

“Steve, back off,” he snaps, angry and waspish from being in pain, and from being frustrated with his own goddamn body.

“What’s going on?”

Bucky turns his head without thinking, hisses in pain, and then turns himself full-body to face in Mary’s direction. She’s standing there looking at the two of them in concern, one hand holding one of those swirly, flaky, crack-cookies that she makes, and the other holding a cup of tea. Her eyes widen at the sight of Bucky’s arm and body, reminding him that this is the first time she’s seen him without a shirt on. “Nothin’,” Bucky grunts.

“Shit,” she says. “Are you guys fighting? Is this a couples’ fight? I’ll just …” She turns to leave back towards her room.

“We’re not fighting,” Steve says. “Buck’s just being an ass. He gets that way when he’s in pain.”

Bucky would turn his head to glare at him, but it isn’t worth another flair of agony in his shoulder. “I’m fine,” he says, when Mary comes back over. “It’s fine,” he stresses. He opens the pill bottle and dumps three capsules into his palm. “Jeez, will everybody stop babying me? I just need a glass of water.”

“I’ll get it,” Steve says, causing Bucky to huff once again. “Don’t be a jerk, babe.”

“Why are you in pain?” Mary asks, her eyes tracing all over the left side of Bucky’s scarred up body. “Is it … does your arm hurt?”

“No. It just fucks up my muscles, sometimes.”

“Your muscles?”

Bucky sighs impatiently. “Steve, do you know where the heating pad is?”

“I’ll have to look.” Steve has returned with a glass of water, and Bucky tosses back the handful of pills, wincing at how even the slight motion of raising his arm up makes his trap twinge in protest. “Ugh.”

“You should get a massage,” Mary suggests, and Bucky fights not to lash out at her. She doesn’t know that one of his biggest pet peeves in life is having other people tell him what he “should” do.

“My PT maxed out back in October,” he tells her. “Doesn’t renew again till January.”

Steve takes the water glass from him once he’s done. “Go lie face down on the bed,” he murmurs. “I’ll find the heating pad.”

“Well I could do it,” Mary blurts out. Both Bucky and Steve pause and look at her. She looks surprised, too, as though she hadn’t been planning to say the words until they were out of her mouth, and now doesn’t know how to continue “Um, that is ..." she gestures weakly with her cookie. “I just meant I know how to, if you wanted.” Eventually her cheeks color and she looks away. “Erm, Nevermind.”

“Wait,” Steve says. When Mary turns back, he’s looking at her earnestly, and Bucky thinks, Oh no. “You know how to give a back massage? Like a real one?”

“Yeah. My, ah, my ex always had neck problems, so.” She shrugs, looking embarrassed. “I took a class at the community college, learned the basics.”

Bucky blinks. That’s the subbiest fucking thing he’s ever heard. “You did this for the husband that beat you?” he drawls, immediately regretting it because it comes out sounding way more derogatory than he intends it to. “Sorry. I just … actually would pay good money for a massage right now. If you know how to do it.”

Mary bites her lip, looking deliciously shy and sweet. Bucky’s mood sours as he realizes that she doesn’t really want to. He’s about to let her off the hook, but then some unconscious movement he makes without meaning to has him flinching in pain again. “Sheezus,” he complains.

“It’s not usually this bad,” Steve worries.

“I must’a slept on it wrong.”

Mary nods, as if this settles it. “Okay. Well, go in the bedroom and tie your hair up so it's out of the way.” She turns to Steve, all but dismissing Bucky now that she’s got a task to complete. Bucky fights back an amused smirk as he heads towards the bedroom, and he hears Mary bossing Steve around, telling him she needs dry oil, the heating pad, towels, and all the seat cushions off the couch.

The fuck does she need those for? Bucky thinks as he pads back into his and Steve’s room.

He finds out a moment later, when Mary and Steve come in with a couch cushion each, and Steve goes back out to get another. They lay them in a line on the bed, and Mary directs Bucky to lie on top of them, with his body placed just so and his face down just there, and … Oh. He gets it.

She’s left space between the cushion under Bucky’s chest, and the next cushion up, which supports his forehead. The gap creates a drop through for his face—like a massage table. And when she shapes the towel into a donut shape and sticks it there, it's pretty much perfect.

“Oh,” Bucky says, as he’s settling into place. “Oh, that’s actually really smart.” He can’t see Mary from his position, but somehow he senses her preening over the praise anyway. Steve returns from the bathroom with the heating pad and oil. “Found this stuffed in the back of the linen closet. I don’t know what ‘jojoba’ is, but, um … it’s either that or the virgin olive out in the pantry.”

“Do not use that,” Bucky grumbles. “Shit’s expensive, and I don’t wanna smell like garlic truffle for the next three days.”

“That’ll work fine.” Mary is totally task focused, ignoring Bucky’s surliness and telling Steve to apply the heating pad across Bucky’s shoulders and neck for thirty minutes before they get started.

“Thirty minutes?!” Bucky complains, unable to see anything but the top of the bedcovers as the two of them go out into the hallway.

“Just relax, Babe,” Steve says (and if Bucky isn’t mistaken, he sounds amused). “Take a nap.”

“I just woke up!” He scoffs at the bedspread when the door quietly ‘snicks’ shut and he realizes that he’s been abandoned. “Well okay then,” he mutters petulantly. Steve is right: he does turn into an ass when he’s in pain. Hmm. Maybe he should work on that.

Steve

Steve turns the tv onto a low volume so they can talk without Bucky hearing. “Sorry about him,” he says. “He’s a humongous jerk whenever he’s feeling crummy.”

“You mean it’s not just all the time?” Mary drawls.

“He’s … just one of those people you have to learn to love before you like them.” Mary raises an eyebrow, and Steve winces. “Er, that sounded harsh. Don’t tell him I said that.”

She twists her lips and looks down. “Your secret’s safe with me.”

“Thanks, Hon. You want more tea?”

“Yes please. There’s more of the palmiers in a baggie next to the coffee pot, if you want any.”

“Heck yeah, I love those things.” Steve had thought the prepackaged ones at Starbucks were good, hadn’t even realized that they weren’t supposed to be all stale and hard like that. Just another commercialized pastry that Mary’s gone and ruined him for. He goes into the kitchen and makes himself coffee and Mary tea, knowing by now how she takes it.

She thanks him silently as he returns and joins her on the couch, both of them sitting close to one another on the chaise, since it’s the only part of the couch that still has its cushion.

"Palmier is French. Know what else they call these?" Mary asks.

Steve's lips quirk. Mary's always got these little facts she knows about the origins of this pastry or that. It's cute. Endearing. "No," he plays along. "What?"

"Elephant ears, because of the shape, see?"

"Oh yeah. Huh. That's neat."

She goes back to eating and sipping at her teacup, and after a moment of unrequited, affectionate staring, Steve looks away. "Elephant ears," he murmurs, trying not to be mopey. "That's funny."

They split the palmiers between them, and aside from the sounds of them munching cookies and sipping their drinks, it’s quiet for a long time. Steve made both the tea and the coffee very hot, so they at least have the excuse of cradling and blowing on their steaming mugs to keep the silence from being too awkward. Mary keeps her eyes trained forward, but Steve gets the sense that she isn’t really paying attention to the home renovation program that’s playing on the tv. His suspicions are confirmed when she eventually asks,

“So: His arm.”

Steve inhales slowly. “Yeah. His arm.”

“What happened?”

Steve frowns. He can tell by her inflection that she’s asking not just about the arm, but about the state of Bucky’s entire left side from shoulder to hip. “We were in the army,” he confides. “Deployed overseas. I made captain young, but he was a specialist in the field: a sniper. So I wasn’t put into the same types of situations as he was. His convoy got blown up by an IED. And when the dust settled …” He shrugs. “No more arm.”

“Oh.” Mary sits there and absorbs that information. “I guess I kind of figured it was something like that. I mean what else is there, besides like, a shark attack or something?”

Steve’s mouth twitches. Shark attack, ha. He’ll have to suggest that one to Buck. Might be fun to lie about, the next time a stranger asks. “Naw, just a boring old bomb. And afterwards, well. It was a long road for him, after. He didn’t have the arm when I met him.”

Mary turns her head, surprised. “Oh. You two didn’t meet in the army?”

“No, after. I met him at the V.A., when he was already angry, hurt, and didn’t want to be where he was.” Steve looks over and gives her a meaningful look. “Kind of like when I first met you.”

Her eyes widen, and then her face colors and she looks away again, pulling her knees up and hunkering over her mug. “Was I really that bad?” she mumbles.

“... You were pretty bad, Honey.”

She frowns and doesn’t say anything, and Steve decides to leave it alone. “So yeah, his arm. He got into a program for experimental cybernetics. It was a big gamble. Back then, he still had his arm down to nearly the elbow, which meant he could use a lot of the different types of prostheses they had on the market. The less arm you have, the less they can do for you. The surgeries for the implant required removal all the way up to and including his left shoulder blade. So if he went through with it and the procedures didn’t work out, he’d be left with less function than he started with.”

“Jeez.”

“Hm, yeah. It was a risk.” Steve stares across the living room as he remembers all of the hospital stays and surgeries and revisions and therapy appointments. “Luckily it worked out. They replaced some bones with metal supports, some of his natural muscle with enhanced synthetic tissue. His body didn’t reject any of the junk they were putting in him, which was the biggest worry. All in all, it took five surgeries over the course of three years, and then a shit ton of physiotherapy. Buck says it was worth it, now, but it wasn’t a walk in the park when it was happening, I’ll tell you that.”

Beside him, Mary makes a sad little noise in her throat. “But … all that and it still gives him pain?”

“Yeah. He gets PT for it, but like he said; it never winds up lasting the full year. I force him to my veterans' support group when I can, but he’s gotta be in a really charitable mood for that.” Steve snorts humorlessly. “He’s always hated being disabled. It doesn’t jive with his DPD. You know that stereotype about men: never wanting to stop and ask for directions?”

“Yeah.”

"Well it's true. And then you take a guy who’s as far on the spectrum as Bucky is, and it’s ten times worse.” He widens his eyes in emphasis and gets a little giggle out of Mary for it, which makes him warm with pride. He pulls his feet up onto the couch next to Mary’s and nudges her knee with his. “Just fair warning: He’s the worst patient I’ve ever seen. So don’t take it personally if he’s grumpy at you in there.”

Mary frowns and looks away. “Well, I mean I don’t have to do this. If he doesn’t want to.”

“Pretty sure he wants to. And he needs help with it, whether his stubborn ass wants to admit it or not.”

She nods, though she still doesn’t look confident. “It’s been over a year since I worked on anybody …”

“Well then this’ll be good practice for you, won’t it?” Steve nudges her again in encouragement and tells her to finish up her tea: He doesn’t expect Bucky’ll lie around patiently for much longer.

(“Oh, and Hon, maybe don’t tell him we were out here talking about him this whole time.”)

(“Duh.”)

In the bedroom, Mary climbs onto the bed next to where Bucky is laid out on the couch cushions. She takes the heating pad off his neck and puts it aside, looking nervously over the broad expanse of his back. “Um …” She reaches for the oil bottle and pumps some into her hands. She spends a long, long time just spreading it between her hands and staring at Bucky, until finally he snaps,

“What’s the holdup?”

“Babe, be nice,” Steve warns. “Mary? You need anything?”

“Um, no. It’s just … usually I'd ..." She makes an aborted move, like she's thinking about repositioning herself, but winds up staying where she is. "Right," she mutters to herself. "This'll work fine." She reaches forward like she’ll start rubbing Bucky’s back, hesitates, shuffles closer to his side, then sets her hands on his shoulders.

Bucky doesn’t so much as twitch, but he’s not used to new people touching him, and Steve would bet money that his eyes are clenched shut right now.

“Okay,” Mary warns. “I haven’t done this in awhile, so don’t get your hopes up for a miracle or anything.”

“Anything’ll be better than what I can do myself,” Bucky says gruffly, voice somewhat muffled by the cushions. “Just go to town. You can’t hurt me any worse.”

Steve can see Mary’s face, and he knows by now what she looks like when she’s flustered. Awkwardly, he steps to the side, heading for the door. “I’ll just go watch some—”

“No!” Mary squeaks, and when Steve turns back around she’s looking at him with wide eyes. “Don’t leave,” she says, like being left alone touching Bucky is the worst possible thing that could happen. Steve doesn’t miss how the muscles in Bucky’s arms do tense at hearing her plead for Steve to stay.

“Uhm, okay. I’ll just … be over here.” He leans back against the dresser, feeling almost painfully awkward. Once again, he’s reminded how Mary has shown absolutely no desire to engage in sexual contact with them. He hopes she doesn’t think this is a ploy to force physical contact. She was the one who suggested it, after all.

She starts at the base of Bucky’s skull, rubbing her thumbs in small circles. “As I go along, try to tell me which areas feel the worst,” she murmurs, and Bucky hums in acknowledgement. Steve watches as she pushes and circles and kneads Bucky’s neck, working down on into his shoulders. He’s struck by how feminine and tiny her hands look against Bucky’s body … and then has to steer his mind away from the thought of how tiny they might look in other places.

“Ah, fuck,” Bucky gasps, when she reaches a certain spot on the left side of his neck.

She freezes. “Bad?”

“Nngh. Good,” he slurs. “That whole area from there goin’ down into my back ‘n all around my shoulder blade is where it’s worst.”

“Okay.” She tentatively presses around in and around the left side of his neck and shoulder. “Oh, yeah. It starts right here and goes down.” She slides her hand down the muscle and hums. “Oh, I can feel it.”

(Steve tries really hard not to think sexual thoughts.)

“Riiight here? and … here?"

Between the cushions, Bucky’s voice comes out in a series of garbled moans.

“That’d be a yes,” Steve interprets, and Mary actually shoots him a grin at that. Glad to have cut the tension a bit, he dares to take a few steps closer to the bed. He peers down at what Mary’s doing, the way her fingers dig in at sharp, focused points in some places and rub more gently in others. “It’s your trap that’s the worst,” she mutters distractedly, feeling around with her hands and staring off into space with the tip of her tongue poking out at the corner of her mouth. It’s cute. “Mmm, but probably your levator scapulae, too. Those tend to get fucked up hand in hand.”

“Mmrr.”

“And here: your rhomboid.”

“Ooh!”

“Tender?”

“Shuyeahhh,” Bucky grunts, then his breath hitches when she digs into another spot. “Oh, yep yep right there. Was’that?”

Steve can’t help but grin. Bucky sounds like he’s drooling at this point.

“Your trapezius muscle. It's big. Does a lot of work, covers a large area. Probably the main offender.” Mary hums and feels around a little more. “Oof, yeah. You’ve got a whole bunch of tension right here.”

“You can feel it?” Steve asks, fascinated. He can't see anything.

“Yeah. Here, gimme your hand.” Steve is taken aback when she grabs his hand and guides his fingers into place, her own smaller hand pressing down. “Riiight there. You feel it?”

Steve swallows thickly. “Ah, yeah.” His eyes flick from her hand on his hand on Bucky’s back, up to her face, and back again before she can catch him looking. “Y-yeah it’s hard.” He grimaces at his choice of words (If he's not careful, "it" soon will be).

“I’m gonna focus on this one for a few minutes,” Mary tells Bucky. Then you can guide me around to the other bad spots.”

“Sounds good,” he slurs. Steve is about to take a step back again, but then Bucky calls out, “Hey Babe?”

“Yeah?”

“Pay attention to what she’s doin’. It feels really fuckin’ good.”

“Yeah?”

“Mmhm. You can learn n' do it next time,” he says dreamily. On his back, Mary’s hands still for the briefest of seconds. “S’goood.”

Steve nods and comes back to sit on the bed. “Okay,” he agrees, scooting in close and glancing at Mary. Her face looks pinched all of a sudden, her expression stiffened as if in annoyance. “I promise I’m not as dumb as I look,” he jokes, and watches as her face smooths out and she smiles a little.

“Oh! Oh no it’s … it’s okay, I don’t mind. I’ll teach you how.”

“Don’t mind me, m’just a teaching tool,” Bucky drawls, and Steve laughs and pats his shoulder.

“Yeah you are. So shut up and let her teach.”

Bucky grunts and shuts up. Steve looks to Mary for instruction. He can tell she’s uncomfortable, but she manages to hide it well and keep herself on track. The more he pays attention, the sooner she can get herself out of this and never have to do it again. “Ready to learn,” he tells her.

“Now when you’re doing this, you can get more leverage if you straddle his waist.” She says this like it’s a foregone assumption that she would never dare to sit on Bucky’s waist, and Steve is sure she doesn’t notice the grumpy huff of breath Bucky gives.

“Right,” Steve says, pained. “Okay, so where are the bad spots again?”

“Put your hand here.” She takes his hand again and places it just to the left of Bucky’s spine at the level of his shoulder blade. “Slide your fingers out. There. Feel that difference? Feel how it changes when you move out to just … there?” She guides his fingers, and Steve nods.

“Y-yeah.” Mostly, he’s just thinking about how nice Mary’s warm, oiled, tiny hand feels guiding his hand around. “Yeah.”

“The trap’s on top, but there are other muscles underneath of this one, and that differentiation you feel is where the rhomboid is ending and the—”

She keeps talking, and Steve tries to pay attention and learn, he really does. But his mind is a veritable sieve, for how well he retains the information. It’s all in one ear and out the other, ninety percent of his attention stuck on Mary’s hands on him, guiding him, pressing on his fingers and gliding his touch over Bucky’s skin. Fuck, how did they wind up here?

Eventually, having taught Steve the basics, Mary lets him go and works on Bucky’s shoulders for a little while more. For the most part it’s quiet, with Bucky making soft grunts of pain whenever she finds a new cluster of knotted muscle, and sighs of relief once she works them out.

Her hands linger on Bucky’s mid back when she’s done. She doesn’t seem to know what to do. “Erm. Okay. I think … I think that’s it.”

When neither Bucky nor Steve says anything, she retreats on her own, getting off the bed and looking between Bucky’s prone form and Steve’s sorrowful expression. “So, kay. You can get up, if you want. Just move slowly.”

Bucky’s right hand gives her the thumbs up symbol, but the entire rest of his body doesn’t move. “Thanks Mare. Just give us a second. That was really good. Thank you. Thanks for teaching Steve.”

It’s the “Thanks for teaching Steve” that seems to do it. Mary’s expression firms up and she nods curtly, leaving the room and shutting the door behind her. Steve stays sitting on the bed next to Bucky in silence for a long minute, then says knowingly, “Got a boner?”

“Yep.”

*To anyone who's only ever had store bought, pre-packaged palmiers: I'm so sorry. Along with Madeleines, those should never be eaten more than a few hours max after they've been baked.

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byoldervine · 11 months ago

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How To Start Writing A Book (So Says This Idiot)

I’ve been working on my queer superhero fantasy novel Byoldervine for a few years now, but it’s only been in the last year or so that I’ve really dedicated myself to my writing. Now I’ve gone from a fun few concepts to nearly 50K words and counting. So I figured I’d share my process to get here

1. Figure out your barebones concept

Before you can begin writing, you obviously need to know what you’re writing. At this point in time it can literally just be something like “A group of friends go on a quest through a magical fantasy world and meet loads of mythical creatures along the way”, it doesn’t even necessarily need a plot intact. You can be as vague or as specific as you like here, you just need that general idea

2. Figure out your characters

Your characters are the driving forces behind all internal conflict in your story and give your story heart; if you can pick between expanding your plot and expanding your characters, pick the characters. Start figuring out at very least the need-to-know aspects about your characters, such as their motivations and what’s holding them back from achieving them. We can flesh them out more and more as we go

3. Create the main external conflict

Often this takes the form of the main antagonist, but it can be literally anything from a curse the main character is trying to overcome, a series of misunderstandings, a goal they just don’t have the skills to achieve on their own, etc. What’s the thing that’s causing our main character problems they need to overcome?

4. Work out the beginning and end of your story

Where do you want your story to end? Do you want your characters to be living a life of peace and glory as revered heroes after they defeat the villain? Do you want them to be able to return to the life they once had with new friends and stronger powers than ever before? Do you want them to fail and experience the tragedy of their loss? Well if that’s where you want to end, they can’t have all that at the very start of the story, so that’s something that needs to change during the story. Congratulations, you just created a plot point!

5. Use your plot points to create a general plan

Now that you’ve got some ideas of what you want/need to happen during the story, you can make a timeline of these plot points. Say something like “Inciting incident, MC leaves village” or “MC trapped by BBEG” or “MC gains new weapon” or something like that. At this point things are a bit less vague because now you’re starting to see how the plot can go. Don’t forget to add things that the characters would go for, too, even if it’s not plot-relevant

6. Plotting

You’re ready to start plotting by now. For every chapter, write down a general objective of what needs to be achieved within this chapter. Each of these needs to be followed with bullet points of different, smaller plot points within the chapter to achieve this objective. This part I enjoy doing alongside actually writing so I can update it as I go, I’ll usually plot about five chapters ahead and then get to writing until I’ve used them all up

By this point, you’re ready to write! Best of luck and remember that it’s only a first chapter, all it needs to do is exist!

#writing #writers #bookblr #writeblr #book #original #writer #writing advice #how to write #writing tips #writing tips and tricks #on writing #writing ideas

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cannedpickledpeaches · 9 months ago

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Insert Your Name (1)

Mafia!Jade Leech x Mafia!Reader

Link to series masterlist!

Notes and TW: I wanted to write something that simultaneously includes some fun Jade moments as well as my own thoughts on some tropes. This series will have mentions of blood, violence, crime (kidnapping, attempted assassination, extortion), and harassment, as one might expect from a mafia AU. Please enjoy!

You’ve known the truth for a while—that this world exists inside a story. This is a world that revolves around a nameless, faceless, flawless main character. This entire world around you exists to serve one purpose: to present trials to the main character until she eventually finds a happy ending with her one and only. This world is created for “(Y/N).”

You are Friend A. Friend A is a foolish girl who puts (Y/N) into a dangerous situation, involving her with the mafia. (Y/N) is saved by a tall, dark, and brooding man who turns out to be a mafia boss. They will face dangers in the underworld until all threats are eliminated, and then they will live out the rest of their lives in blissful peace as though they are good people. Friend A is never mentioned again after page two.

You are Friend A. You are aware of that.

So why don’t you break out of your role in this story? Why should you play your part instead of using this knowledge to change the flow of the plot?

Simply because the plot is beneficial to you.

You are Friend A. You are a core member of the Leech Mafia. When (Y/N) enters the mafia, her actions flick the first domino of a long chain of events, eventually leading to the prosperity of the Leech family and expanding their influence. Because no matter what, this story caters to (Y/N)’s livelihood.

And why should you interfere with something that will eventually pay out big for you?

There she is now, coming down the street with a smile. Her indistinct hair is in a messy bun that she always throws together in seconds. Her pants emphasize her incredibly tiny waist, and her eyes sparkle with the light of constellations when she sees you. A light blush dusts her cheeks even though she doesn’t wear makeup, and she passes all the people captivated by her on the sidewalk, oblivious to their stares, because she doesn’t believe in her innate beauty and charisma—the beauty and charisma that the story says she has.

“Oh, there you are!” Her voice, clear and sweet, rings out to you. You wave back, just as you are supposed to. “You said you wanted to get sweets from the bakery that just opened, right? I’m so excited. I love sweets! I saved up some money just for this.”

A dialogue line full of exposition. You nod and lead the way.

“Have you seen their Magicam posts? The cakes are so pretty.”

Her giggles chime like bells. “I think the strawberry one is the cutest!”

Your small talk has little to no substance. It exists only to pass the time. To be honest, you don’t mind. If this were any normal day, you would have enjoyed this. You would have visited that bakery with (Y/N), gone home with a strawberry tart, checked up on the ledgers for the mafia, and slept while fed and content. But today is the inciting incident of the story, and you have your part to play.

A dark alleyway is where these things always take place in stories. Four men smoking and muttering ominously to themselves lean against a brick wall, hidden in shadow. Their eyes follow your every step. You make sure to walk on the outside of the sidewalk so that (Y/N) passes by the alley. As expected, their hands shoot out and grab her arm.

“Hey, you there.” One of the thugs licks his chops. “Got a minute to spare, pretty thing?”

Generic “bad guy” dialogue. Of course, he’s talking to (Y/N). You don’t need to do anything yet except make sure the pieces are in place. A flutter of black fabric in the corner of your vision assures you that the main lead is ready and waiting.

“Get your hands off me!” (Y/N) struggles against his much stronger grip to no avail. The men pull us into the alleyway and corner us against a dumpster. Tasteful.

“Don’t be so harsh.” Another thug whose voice scrapes like glass shards to the ears grabs your shoulder. You don’t shrug him off. Right now, your role is to lay low and let the main character shine. “We just wanna show you a good time.”

“You can fuck right off! And don’t touch my friend.” (Y/N) shows off her generically headstrong personality now. She probably thinks that she should protect you. You are Friend A, without any special characteristics, a piece of cannon fodder that cannot do anything on your own. Even though (Y/N) doesn’t consciously think that way, this is how she perceives the world. She is not wrong for doing so—she’s being sweet, in the way that she is designed to be.

You don’t have anything to do while she shoots off her scathing remarks, so you take your time to observe the thugs. Just as the story you read describes, these men come from an easily identifiable rival mafia. All four have a tattoo of a handsaw on their bodies—the symbol of the Carpenter Mafia, the current major group in the Queendom of Roses. Common soldiers, no doubt. Not anyone of importance . . . yet.

Thug Number One brings your attention back to the conversation by yanking on your hair. It hurts a little. Irritating, but you can bear with it. (Y/N) looks outraged.

“How about this? Since you’re so determined to save your friend, I’ll let her go if you give yourself to us.” He continues with his harassment by grabbing your cheeks with his grimy fingers. You inhale deeply and immediately regret it due to the smell of his breath. Your mind urges you to refrain from giving him a nice fist to the face. Not just from his treatment of you, but also from his gross proposition to (Y/N). Despite your respective roles in this story, she is still your friend. Hearing him throw those slimy words at her leaves a bitter taste in your mouth.

(Y/N) puts up a struggle. “I won’t give you anything!”

“Do you think you’re in a position to make demands?”

She hesitates, looking at you with conflicting emotions warring on her features. Takes a deep breath, just as the story says she would. Then, with a wavering voice and a tough façade, she agrees.

You take your cue to run from the alleyway, abandoning her the way Friend A is meant to do. You don’t have to worry. After all, the thugs won’t be able to do anything before the male lead steps in and saves her.

There isn’t much time to waste until you get an update on the story. You hail a taxi to a neighbourhood by the sea. You tip the driver handsomely, bid him a good day, then walk another block before arriving at a mansion. There’s nobody here to greet you except the security guards at the front gates.

You scan the trees. Looks like he’s in a good mood. When he’s upset, he doesn’t usually climb. He hasn’t noticed you yet—his back is turned, his head buried in a particularly thick patch of leaves, and you’re downwind.

“Floyd!”

He turns so suddenly that you’re worried he’ll get whiplash. A grin lights up his face, and without a single reservation, he jumps right off the tree and lands smoothly on your side of the fence surrounding one of the Leeches' many properties. The sun shines across his handsome, sharp features. Of course, the twin brother of the male lead must be gorgeous in accordance with the axioms that govern this world.

“Handfish, how was it? Did Jade meet her?” Even though you are Friend A in this story, to Floyd, you are just his friend. He hasn’t given you a generic nickname like the “minnows” that he calls the family’s soldiers and staff. To him, you are an individual who is interesting enough to grant a personal nickname. Even if that nickname is “Red Handfish.”

“Yeah, he did. I saw his blazer.” You think back to the black fabric you saw before entering the alley. “I bet he’s doing the whole ‘I can’t let you live’ conversation with her.”

In the story, one of the thugs reveals Jade’s identity as a mafia boss in front of (Y/N) before he passes out. How a common foot soldier of the Carpenter mafia can recognize Jade, whose face is kept classified from lower-ranked members of the underworld, is worrying enough to warrant investigation. This could simply be a result of poor writing from the original plot, but you are also an example of the original story’s loose ends. If someone like you, who was meant to disappear after page two, can still have any significance and will instead of vaporizing immediately after you left that alley, then you can’t be too careful.

“Bet he’s being real smooth with it.” Floyd cackles, his raspy laugh reminding you of a chain smoker after five consecutive packs. “She’s gonna fall for it hook, line, and sinker.”

“Of course. We’re talking about Jade.” Even under regular circumstances, he’s charming enough to lure any poor, unsuspecting fool to their demise. “They’re going to come here any minute now. Let’s go inside.”

You pass the security guards and enter the Leech property. A perfectly paved ground with colourful stones and not a weed in sight. A marble fountain surrounded by neat, rectangular hedges. And of course, the enormous white mansion with huge double doors, which in turn have proportionally huge fancy glass windows. For (Y/N) to have a “perfect” ending, the world must allow her to escape her current life of scrimping and saving by marrying her into a wealthy family.

“I wonder what the little minnow looks like.” Floyd hums, sauntering into the living room. “I bet she’d break easily if I squeezed real hard, huh?”

“Don’t do that.” The two of you sit on a velvet couch. Floyd’s long limbs sprawl out and take up the majority of the space. You settle on the far end. “And are you going to keep calling her a minnow?”

“Dunno, haven’t met her yet.”

“She’s very pretty. When you meet her, I’m sure you’ll get the feeling that there’s something special about her.”

The story emphasizes how much Floyd adores (Y/N). She is supposed to become a sort of mood stabilizer for him, keeping him consistently happy in her presence. You wonder if that will actually happen. Floyd can and will throw tantrums around people he holds dear. His mood that flips at the drop of the hat seems difficult to stabilize on just affection alone.

He shrugs non-committedly. Just as you’re about to suggest a nickname he could use, your phone buzzes.

Five minutes away. Jade’s text is short and to the point. You stand and stretch, getting ready to play Peeping Tom.

“Remember, don’t say anything about the original plot, okay?” Floyd’s unpredictable nature worries you. You know that your reminder won’t do much if Floyd decides it would be fun to spill the beans anyway, but you can’t help yourself.

“I know, I know.” He frowns and waves you off. Laughing, you move to the room across the hall. He hates being told what to do, but he’s in a good mood right now. It won’t be a problem.

The front door creaks open. Through a crack in the door, you watch Jade carry (Y/N) in his arms like a princess and set her down on the couch. Smooth, easy, efficient, the way he likes to do everything. Even though you know he is acting, his movements, the soft look in his eyes, are almost believable to you. And you’ve known him for fifteen years. There’s an odd stirring in your chest. Guilt? Envy? You tamp it down.

For a fraction of a second, you swear you make eye contact with him. If he notices you, he doesn’t show it. He seems to redouble his efforts on acting sweet to (Y/N). It might just be your imagination.

Floyd pokes around at the two of them the way he always does when he’s curious about something new. His grating laugh fills the air while Jade bandages a scrape on her knee. Good, the scene is going exactly as described in the story. (Y/N)’s first colourful and memorable experience with her future family. Her new family must be fun, rich, kind to her, and love her unconditionally no matter the circumstances. Her new family has to be better in every way compared to her current one—a mother who passed away at childbirth and a scummy father who neglects her. For an author, these are simply lazy ways to give her a tragic backstory and simultaneously pretend her parents don’t exist for the rest of the story because they don’t add to the romance.

How horrible. How could a late mother and neglectful father not affect a person? How could they simply be written off as another thing the male lead “saves” her from? And for that matter, how can the author casually write in a scene where she is cornered by adult men who are physically far stronger than her, who harass her and make disgusting comments, just so she can meet the male lead? How can they just pretend that won’t lead to any trauma?

You know firsthand how (Y/N) lives her life, because despite the story labeling you as the disposable Friend A, you genuinely have been her friend for the past year. You’ve seen her live on plain rice porridge for days to cut grocery costs. You’ve seen her wear clothes until they are threads because she can’t afford to buy new ones. Oh, but isn’t it wonderful that she’s skinny and looks good in everything?

What a load of bullshit.

#disney twst #twisted wonderland #twst x reader #jade leech #jade leech x reader #twst fanfic #floyd leech #twst jade #(y/n)'s the main character but you aren't her #slow burn #you're gonna have to read some plot #before you get to the fluff #this is actually just my excuse to write something sort of meta

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writingwithfolklore · 11 months ago

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Backstory is Revealed When You Need It, Not Before

Recently I shared my first 30 pages with my writing mentor, and now I'm sharing her advice with all of you (This is part 2! Find part 1 here). She told me my beginning read very slowly because I was giving backstory before it was relevant in the story, rather than intertwining it with the action.

What I mean by that is, I was giving a lot of exposition on my world just through my character noting it to herself. I worried that if I didn’t lay down the basics right away, when I did mention it later it would come as a bad shock to readers.

While that might have a logic to it, it's very slow to read just exposition on the world. To get these details through naturally and when they're relevant, while still conveying them in the beginning, we needed to create a conflict for my main character to react to right away.

This way, I could spend the first couple pages revealing the essentials of my world and main character without halting the pacing to a stop.

Okay, consider these two examples:

Character A avoided the alleyways as they travelled to the store. The city was overrun by gangs who liked to lurk in their dark corners, jumping out at unaware passerby’s for coin or favours.

Vs.

The back of Character A’s neck prickled as they passed an alleyway that swallowed all light. They were steps away when they heard a raspy voice, “don’t you know you gotta pay the fee to pass through our turf?”

How this character resolves this conflict will betray who they are as a person. Do they cower? Do they fight back? Do they reveal they have connections to another gang, or the police?

This little conflict, as well as establishing a vital part of your world and character, should in some small way connect to the bigger conflict up ahead, aka the inciting incident.

In this example, this specific gang would probably be where the main antagonist is from—or the consequences of how they deal with this follow them into the inciting incident in some way.

Backstory only when it’s most relevant, not to anticipate when it will be important later.

Good luck!

#writing #creative writing #writers #screenwriting #writing community #writing inspiration #filmmaking #books #film #writing advice #writing backstory #backstory #exposition #writing exposition #backstory when you need it not before

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tiny-1karus · 1 year ago

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Pairing: yandere!batfam (Dick, Jason, Tim, and Damian) x fem!reader

(All the boys are 20+, Damian is around the same age as the reader and they're both in university.)

A tiny little sequel to the Cinderella-esque story, but from the boys perspective. There are multiple parts to this but you can check out the first part here:

Part 1

This is an almost 3k fic, so enjoy!

...

It was the following evening after the inciting but unfortunate incident that had landed you on the medical bay of the Wayne manor. You had been unconscious for most of the night until the late afternoon as your body recovered from the traumatic head injury you had received from your stepmom, only gaining consciousness for barely an hour before immediately falling back asleep. The last night's events, along with your clearly overworked and underfed body, had clearly taken it's toll on you. With the state of your body and your consistent lack of consciousness, they had to attach an IV tube to your arm.

The Wayne brothers, along with their father, had taken turns diligently monitoring you throughout this time after returning in the early dawn from their... Mission.

They could all finally relax as the primary and greatest threat to your well-being was finally taken care of.

They hope they burned in hell.

Your condition, thankfully, wasn't dire, even if it wasn't ideal. All you needed was complete and relative rest until the next 3-4 days, which was slightly overestimated, but none of them were taking any chances on your health. Not when you were still in such a fragile state.

Currently, Dick and Damian were on watch for you. Dick was sitting on a chair to your left while Damian stood next to him like a silent sentry, both of them watching the steady rise and fall of your chest as if to reassure themselves that you were still there with them. Even in sleep, you still had this shadow that seemed to haunt you as your face never seemed to be fully at peace.

Dick was holding on to your hand with a guilty expression, his blue eyes darting to the large square gauze taped to your left cheek. It hid the massive bruise that nearly covered the whole left side of your face. He still couldn't express into words the magnitude of rage that had consumed him when he saw the dark mark on your precious face.

Dick never thought himself a particularly violent person. He tended to use diplomacy as a primary approach when violence is clearly not warranted. As a vigilante, he uses violence as a means to protect, but last night he had used all his strength to harm.

He still couldn't fathom why it had felt so good in that one instance, so he tried not to think about it anymore.

He gently ran his thumb against the back of your hand as his eyes darted to the bandage on your face. He bit his lip as his own face scrunched up into an expression of guilt once again.

Clearly, he was failing at that.

Damian let out an annoyed sigh and pinched the bridge of his nose. "Grayson, I can hear you thinking from here." He stared down at his brother with an unimpressed look, "and clearly, you're doing a poor job at it."

Dick bent his head until his forehead touched the back of your hand. He really wanted to kiss it but his guilty conscience made him think he was unworthy of the action at the moment.

"I dunno Dames, I just feel so... Guilty."

Damian let out a quiet exhale as he considered the miserable, guilt-ridden state of his oldest brother.

A tiny part of him, the part that hurt and raged at all the pain you had endured by your so-called family, felt remorseful that you had gotten injured that night. This piece of him ached at the thought of all the other nights that he wasn't there to protect you from it all, even if he had been unaware of your existence for most of it.

But he would never let anyone know that.

The youngest Wayne laid his hand on Dick's shoulder. He waited until his older brother finally looked up from his hunched over position on your hospital bed. Damian inclined his head towards the door before walking towards it, silently waiting for his brother to follow.

Dick seemed hesitant to leave your side but the impatient gesture that Damian made at the door finally made him follow his youngest brother outside. He closed the door with a faint click, and they both walked towards the observation window on the other side of the medical bay. They settled at the spot that was directly in front of your bed; Dick with his arms hanging loosely at his sides and Damian with his arms crossed over his chest.

You might have been unconscious but they didn't want to take any chances of you hearing this conversation.

Damian surprised his brother by speaking first. "I hope you know that it was done out of necessity. She wouldn't have come to us, where it's infinitely more safe and she has a vast access to superior resources, if this didn't happen." The conviction in his voice brokered no room for doubt or argument. He said this as if it was merely fact and to a degree, it was, but Dick couldn't help the sliver of doubt that persistently niggled at the back of his mind.

Damian hadn't turned to look at his brother as he spoke, his green eyes locked intensely on your sleeping form on the hospital bed. If he had any doubts, which Dick seriously doubted, he gave none of it away. Instead, his jaw seemed to clench a bit before letting out a silent, imperceptible sigh. "Nothing would have changed for her if we hadn't intervened." He pointed out with an unreadable look.

Dick sighed as he looked at you through the glass with a sad expression. He had hoped, however vaguely, that your family wouldn't have stooped that low. That they wouldn't have fallen for the bait.

The only tragedy is that they hadn't suffered more.

When Dick—uncharacteristically—still failed to respond, Damian let out a frustrated noise. Since when did he become the voice of reason for this family? The youngest Wayne pivoted and pinned his older brother with a hard, unyielding look.

"Grayson, I will only say this once. There is no need to feel guilty. It was the optimal way to get her out of that disgusting cesspool and we succeeded." There was a fierce conviction to the youngest Wayne as he said this and even Dick couldn't help but feel a little swayed.

Dick ran both of his hands through his hair aggressively and sighed harshly. "I just wish that she didn't get hurt in the process." We could have prevented it, was what went unsaid but clearly understood between the two brothers.

At this, even Damian didn't have a reply or rebuttal ready. Because it was the same thing that plagued him about this situation. But he consoled reassured himself that you had survived and were finally in their care, where you were safe (where you belonged).

It had been years since Damian has thought this way, not since he started living with his father and adopted siblings and developed a moral code and conscience of his own, but this is one of those rare instances where the ends undeniably justified the means.

Damian couldn't—wouldn't regret his choice to plant your money box on top of your bed while leaving your door ajar for the filthy vultures to pounce like the mindless, greedy beasts they were. It was their fault for acting on their avarice and they paid for it with their lives.

"I just wish she didn't get hurt."

Damian narrowed his eyes in thought. Truthfully, you weren't supposed to get hurt.

...▼▼▼...

The hours that had led up to the incident had been a hectic whirlwind for everyone as they were neck-deep in the process of busting a criminal network drug-ring operation. The entire team had been investigating this underground operation for weeks and were on the cusp of sweeping this operation into the light.

And this was in the middle of them monitoring the situation in your house. Robin had already planted your moneybox in the open a few days ago and it hadn't even taken 30 minutes for the pests to take the bait. Through the multiple cameras they had set up within your house, it almost amazed the team how none of your step-family seemed to think twice before going on a shopping spree with your hard earned money, extravagantly parading their ill-gotten luxury (Damian scoffed, they called that luxury?) in your house right in front of you. All this, as you still worked hard and let these putrid leeches work you into the ground like a slave. It was only a matter of time before you realized where your money had unfortunately gone. They all waited with baited breaths for the explosive fall out that would ensue and had prepared measures to protect you from it.

But the sudden arrival of a rival gang on one of the warehouses that also acted as a quasi-headquarters for one of the heads of this operation threw a wrench in their plans, and suddenly all hands were needed on deck.

Batman called all of them in and the team entered the warehouse into a room that had turned into a battle ground as men and women fought in a free-for-all. Without hesitation, they all leapt into the fray.

And although the vigilantes had been busy bashing skulls, they still kept an ear out for the little ping! That would alert them of your stepmother's arrival at your house. Since that alert never preceded anything good for you.

Ping!

Red Hood nearly missed it over the sound of his and his enemy's exchange of gunfire but when he finally noticed the alert, he hurried to the nearest stack of crates for cover before pulling up the feed. You were crumpled on the floor with your stepmother nowhere in sight.

Shit, that can't be good.

"RED!" He bellowed.

From across the large warehouse, Red Robin answered. "Already on it!"

Everyone on the comms heard a curse as Red Robin sounded out the custom alert sound they had set for emergencies that pertained to you.

"Guys, we need to wrap this up now. She's running around downtown in the rain alone. She seems erratic and terrified." None of them had to be geniuses (which they were) to guess that something bad had happened in the mere moments they had focused their attention elsewhere.

Batman's gruff and gravelly voice came through the comms in a clear command, "Red Hood, Nightwing, go out and secure her location. We'll finish this."

Robin and Red Robin tightened their holds on their weapons before going back into the fight with renewed and vicious vigor. They had to finish this early so that they can see you. They barely had time to look at your feeds once the fight broke out but they couldn't ignore the foreboding feeling they got when they received your alert.

"We'll be at the house by then, make sure she's safe."

...

Nightwing could barely hide his worry as he frantically changed into the spare civilian clothes he kept in a bag right there in his own car before booking it, with Red Hood hot in his trail in his motorcycle. He already put in your coordinates in the screen on his dashboard, it began tracking the tracking device they had planted on your phone for such emergencies.

He watched as your icon ran through streets without rhyme or reason, and in the rain no less. He bit his lip, you must be terrified.

Red Hood had already taken off his helmet and had shoved it into the underseat storage of his motorcycle before following Nightwing. It was all he needed to do to transition to his 'civilian' attire. He didn't care about the rain that pelted him and soaked his clothes as he drove with the single-minded intent of finding you.

He pulled up a feed on the little monitor on the instrument display of his bike, it showed you from the image quality of street cameras running frantically in the rain. Fuck, what if you got sick?

Nightwing's—now Dick Grayson—voice called to him from the comms they both still wore, "Jay! She's up heading towards the 6th. Intercept her from the other side. I'll wait for you both there."

Jason Todd revved up his bike and broke away from the main street to cut through alleyways to beat you there. He haphazardly parked his bike next to a pile of trashbags and ran out of the dark alley and into the sidewalk. He wasn't all that worried about his bike, the Red Hood symbol emblazoned on it's side should deter most people from even touching it. But if it did get stolen, then he could just as easily replace or track it.

None of that mattered more than finding you, though.

Once he ran up to 6th street, he immediately zeroed in on you. You were standing a few blocks away from him, your clothes looked rumpled and you were positively drenched from the rain. There was a glazed look in your eyes even from this distance and he called your name as he slowly approached.

The way you had reacted to him, sobbing and grasping at him as if he was your lifeline, broke him. And he held you even closer as he let your tears mix with the rain that soaked his shirt.

Even though, he knew he was part of the reason for that.

...

Once you were finally situated at the house with all the Wayne men surrounding you (protecting you), you were quiet and withdrawn. A stark contrast from the bright and warm air that you seemed to bring with you everywhere you go. It had taken some coaxing, but you finally opened up to them about your problems at home for the first time since knowing them. And they all were aware how you tried to sugarcoat it and minimize the worst of your pain and that hurt. (Didn't you trust them?)

And once your injury was brought to light, they were furious.

Once you were being taken care of by Alfred, they pulled up the feed of the time they had missed while they were dealing with the drug-ring bust. They all watched, with surmounting horror, the way your stepmom had ruthlessly beaten you into the ground and had shouted such horrible words at you.

To say that they were infuriated was an understatement. The magnitude of their shared rage could never be encompassed by any measure in the known world.

They were down-right murderous.

How could you have gotten hurt on their watch?

... ∆ ∆ ∆ ...

"Staying there would've only hurt her more." Tim's quiet voice interjected, suddenly appearing on Dick's other side. Damian gave him a passing, acknowledging glance before his green eyes returned to your prone form on the other side of the glass.

Tim had his hands in the pockets of his favorite hoodie as he watched you with a solemn expression. "I don't regret what we did." He stated firmly. "When I was in her shoes, I remember all the pain I went through and always wished that someone would save me."

Dick turned to his brother and slung his arm over his shoulder before bringing him into a side hug. Tim leaned into his brother a little as he joined them in watching over you. Something in him settled as he watched the steady rise and fall of your chest, it was comforting to know that you were here, even if the circumstances that had led to your arrival had been unfortunate. He couldn't help but think about the similarities the both of you shared.

But unlike you, Tim had been lucky enough to have the opportunity to save himself, when he chose to become part of this family of vigilantes and chose to become one himself. He didn't want you to feel alone like he did in his previous life. And now you would never have to feel that way again.

Tim's voice was resolute as he spoke to his oldest brother, "and we saved her, Dick. I can't ever regret that."

Dick reached up to ruffle the already messy hair of his brother. "I know, Timmy." He said softly.

Still, the guilt lingered (as it will for a longer time still, like a jagged pebble inside the shoes of his psyche) as Dick watched your prone form sleeping peacefully on the hospital bed. He had a part to play in your injured state and he could never truly scrub himself of the guilt that came with that.

But you were here now, and you were safe. That was all that mattered to them.

And Dick would rather regret the things he's done rather than leaving you there to suffer by yourself.

...

Does this count as part 3?? Idk, y'all decideee. I just wanted to write a small insight on the boys and a BTS on what happened during that night. Like, isn't it just so juicy how yandere tendencies can clash with a hero's moral code and how it affects and manifests for each member?? Anyways, sorry that Bruce weren't in this part that much ;v;

Lemme know if y'all want more from this, and let me hear your thoughts! Constructive criticism is always welcome with me (whether it's you pointing out a grammatical error or a faulty tense) :>>

I'll start on the first part once I've posted this, I've barely edited this lmaooo. Thank you and enjoy!

#yandere fic #yandere x reader #yandere fanfiction #yandere imagines #yandere batfam #yandere batman #yandere dick grayson #yandere jason todd #yandere tim drake #yandere damian wayne #yandere x you #yandere imagine #fanfic

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