#Bones Gives Advice

[bonefall]

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

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

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

So, why?

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

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

Bumble, on the other hand...

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

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

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

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

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

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

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

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

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

Ask yourself; what about them does the cast miss?

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

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

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

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

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

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

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

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

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

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

[bonebabbles]

OH I THINK I CAN EXPLAIN THIS

Context: I am not aro or ace but I live with a family member who is aroace. This is based on differences between us, so personal anecdotes.

When I'm in romantic love with someone, I really am thinking about COURTING them. I imagine bringing them things, doing stuff for them, I want to cuddle them, in joy of the way they feel how I do and basking in how they make me feel. There's like a magnetism, and the environment/activity is making that pull stronger.

Romantic love is an emotion that's hard to describe, warm and light on the top of my heart, upper back (thoracic spine), and a little in my upper arms. There really are pleasurable "butterflies" in my stomach, too, like a fluttering that matches the heartbeat. But it can PHYSICALLY hurt when the interest gets upset, like the soft, warm feeling suddenly gets sharp and cold.

Like a cloud freezing into a block of ice

(When I was in a bad relationship, it felt like near-constant guilt because the negative version of that feeling would tug, like a shackle, whenever I thought about my personal needs and any "interests" they didn't approve of. Being a full person felt like disappointing them.)

Point being, romantic love's like anything else. There's good and bad.

So anyway, a "Romantic Situation" is like... just going somewhere so you can feel that feeling mutually. "Alone Together," dates to romantic locations (subjective; I find hikes romantic and my partner does not), staying in late, eating nice food together.

When my aroace family member wants to hang out with a friend it's like... it's hard to describe how it's different, but it's more about the act of showing that friend they care, the FOCUS they can put on them as a person through their shared interests, and the good time they're sharing.

It's more like how I do a game or movie night with my buddies to enjoy a thing and each other's presences. We're making memories that contain each other.

There's overlap. You should ALSO like your lover as a friend. I hate the way Platonic vs Romantic interest is framed like romantic interest is a "stronger version" because GOD it's not. It's a DIFFERENT one.

My family member has no point of reference between romantic and platonic interest, because they only feel the platonic type. Doing the romantic things was just "something they did" for their partners, an expected part of a relationship. Not something they DISLIKED but very obviously just social expectations for what "domestic partners are supposed to do."

Literally like engaging in things they're just Okay about, to please a best friend.

For example, when I go to a fancy restaurant with my lover, it's about them, and it's about Us. On this emotion I am feeling for them, doing something we enjoy, the atmosphere making us feel a way. When family member went on a date it was about the pasta. And the date too because they're fun to be with! But mostly the pasta.

(This is also an older family member who only learned there was a name for their feelings because I came out as queer. I could talk about them all day but that's off topic)

Anyway, hope this helps. And RE: this is my/our own personal experience, no two queer people are the same, asexuality is a spectrum/umbrella

When you look up the differences between platonic and romantic love, one of the . The things. Is "imagining romantic situations with them" and just. The. H!???1??! I DONT KNOW WHAT THAT MEANS!!!

[de4thart]

[siriuslyobsessedwithfiction]

I hope one day YA fantasy and dystopia authors will realize just because the target audience are teenagers, it's not necessary to dumb down the concept and every aspect of war and its consequences. Yes, war is an unimaginable horror and you cannot write the gruesome and psychologically scarring details in YA, but it still should be treated as a horror and not something glorious or easily fixed. The characters cannot fight in a war in one book and be just fine in the next. You can make light of the situation without making it out to be a light situation. It's actually harmful and sends the wrong message.

If they're worried about the readers not liking it, may I remind you The Hunger Games trilogy didn't shy away from showing what war is and it's still considered one of the best YA books to this day. Harry Potter, which is considered a children's book, portrayed a corrupt government, silent overtaking of power, disappearings and mass panic fairly well.

Teenagers and young adults might not be ready for adult books, but if authors choose to write a heavy topic such as war in YA books, they should deliver it well, even if it's vague, rather than prettify the image and distort the facts.

It's insulting, even. We know what war is. We see it on the news. We see it on the internet even if we don't want to see it. Some of our loved ones have experienced it. Sometimes it's like the authors forget their books are read by people from all around the world.

"It's supposed to be an escape from the real world"- well then, give the book a happy ending. Or abandon writing war altogether and embrace the whimsy.

[swimminginyokohamasrivers]

He comes in through the front door. His wrist is bent in a not so normal kinda way.

Hi papa. Uhm.

He holds up his wrist.

Yeah-

// @wherenightmeetsdawn

....Oh! That's broken-

[trek-tracks]

Bone on Bone? I think I read that Star Trek TOS/AOS crossover fic

[defrostedvertebrae]

rejecting my diagnosies and just vibe with "idk man i'm just built like that" >>>

[abelllia]

Transcript:

[From MAG 92]

Elias (Statement): -if I leave a letter here, in your institute, you might find it, you might be able to save me. I have no other hope. I have no other hope. Please, Jonah, if you have any compassion within your heart, you will not leave me in this place. Your loyal servant, Barnabas.

Elias: Jonah Magnus did leave him in that place, Jon. He got the letter, oh yes, and was on good terms with Mordechai Lukas. He could have interceded, perhaps even saved him, but he did not. And it was not out of malice, or because he lacked affection for Barnabas Bennett: he retrieved those bones sadly enough when the time came. Bones that you can still find in my office, if you know where to look.

No, it was because he was curious. Because he had to know, to watch and see it all.That’s what this place is, Jon, never forget it. You may believe yourself to have friends, to have confidantes, but in the end, all they are is something for you to watch, to know, and ultimately to discard.

[From MAG 159]

Jon: Martin. He’s gone, Martin. He – he’s gone. 

Martin: His only wish was to die alone.

Jon: Tough. Now – listen to me, Martin. Listen.

Martin: Hello, Jon.

Jon: Listen, I know you think you want to be here, I know you think it’s safer, and well – well, maybe it is. But we need you. I need you.

Martin: No, you don’t. Not really. Everyone’s alone, but we all survive.

Jon: I don’t just want to survive!

Martin: I’m sorry.

Jon: Martin. Martin, look at me. Look at me and tell me what you see.

Martin: I see…

I see you, Jon.

I see you.

Jon: Martin.

Martin: I… I was on my own. I was all on my own.

Jon: Not anymore. Come on. Let’s go home.

Martin: How?

Jon: Don’t worry. I know the way.

[CLICK]

End Transcript

Going insane about this for a multitude of reasons

[barrel-crow-n]

Nikolai: Don’t preach to me about romance, Tolya. I had a three-way in a hot-air balloon.

[grishaverse-chaos]

shit I remembered this too late to add to the post I was replying to, but: people (and by "people" I mean darkl!ng stans and nikolai antis) will call nikolai an example of the White Saviour trope, and they're kind of half right in that he is a SUBVERSION of the trope

so yes, he's initially presented as that archetype - a member of the majority group, who sympathises with the minority group and uses his institutional power to improve the lives of that group

(of course, this is subverted right off the bat because he is CONSTANTLY offering to share his institutional power with Grisha: proposing to Alina, creating the Triumvirate, even the Nolniki to an extent)

but the trope is FULLY subverted at the end of RoW, when he literally addresses the question of whether he is the right person to "save" Ravka, and decides to literally GIVE all his institutional power to a Suli Grisha woman (Zoya)

[bonefall]

do you have any tips for writing a low empathy character who isn't evil? Or how to make an interesting apathetic character who's a thoughtless sort of evil? These are two different chatacters btw-

I tried looking up examples and stuff but uh. It's been a bit fruitless.

Honestly it's not too hard! Having low empathy just means we're bad at automatically "connecting" to the feelings of other people. You can come to understand it's not even a character flaw once you uncouple the idea that Empathy = Kindness. And apathy, well, that one's a bit more complicated imo.

Low Empathy

In English, it's just unfortunately super common to conflate Empathy and Compassion. To have compassion is to be aware of the suffering of another person, and ergo, want to help stop it. To be empathetic is to identify with and understand the feelings of another person. These are different things.

For an example in action; imagine a medic with a patient whose shoulder is dislocated, and xey'll need to pop that arm back in place in order for the patient to feel better.

A medic feeling EMPATHY for that patient is having an emotional response to what xey're seeing. Xey might have a tingly "ghost pain" thinking about the injury, and xey might feel guilty xey're going to put them in more agony, but also joy because this patient is going to feel much better in just a moment.

A medic feeling COMPASSION for that patient is thinking about how the shoulder must be causing a lot of pain, and knows xey have the skill to fix it. Xey know from xeir own experience that pain sucks and so it is a bad thing that needs to go away. It will hurt a little more for a moment, but then there will be immediate relief.

This is imo, why a lot of low empathy people are "bad at" comforting people without going to Autism College where they give you the scripts of Shit Neurotypicals Say. We're not trying to be selfish when we end up making "comfort sessions" about ourselves-- that's what we think empathy is, because we don't have a lot of it to really know what you want.

Like, doesn't it make sense to you? "I don't know what you're feeling. Here's a similar situation I've been though. I must know what you're feeling-- does that make you feel better? That you aren't alone? I think that's what empathy is, am I right?"

A LOT of low empathy people go into medical fields, the funeral industry, and disaster relief. We often really do want to help people so seek these fields out, or when we get there, just end up not getting burnt out like our high-empathy peers!

Apathy

As for the apathetic character, honestly, I'd suggest thinking about your story's themes. Villains are very special to me and I always try to handle them with care. What are you trying to say is bad to not care about in your work? How does their apathy play into the story you're trying to tell?

A Captain Planet villain is completely selfish, and exists only to benefit itself by exploiting nature in some way. Then the Planeteers show up and punch it in the face. Boiled down to its barest, most simple essentials; "We have conflicting goals and so I will stop you."

Personally I find total apathy to be something not especially compelling in villains, for that reason. Like, if you really don't care about anything, why bother with the trouble of going against the protag? Motivation is meant to be MOTIVATING.

(also ngl I'm on the Shadow As A Hero sort of bandwagon where I find it much funnier for the simple apathetic cool edgy guy to be the funniest person on your tennis team)

Dungeon Meshi has TWO characters who struggle with apathy, and are both antagonists at some points in the story, but never villains. Shuro and Mithrun. The theme of Dungeon Meshi is the beauty and complexity of life, the value of living, and how our connections to others changes the people we are. Food is a metaphor for bonding, self-care, and understanding.

For Shuro, he begins the story as someone who's both been encouraged to bottle up his emotions for the sake of other people, as well as to not actually consider the emotions of those lower-born than him. He's from a very different place than the other members of his party, and this causes friction as class, culture, and sophisticated, refined, weapons-grade autism clashes.

When the woman he loves is eaten by a dragon, he doesn't stop to tell her brother and """childhood friend""" what he's planning, as if they both wouldn't run in and get hurt. He owns demi-humans. He doesn't consider his own needs or the needs of his rescue team of loyal vassals. As a result, he's too weak to continue, losing a fistfight with one of the main characters, Laios.

After this, he connects with him for the very first time, and reaches out to him by giving him an important magic item. There's even a MASSIVE moment where he outright tells Laios that his ability to be so open (read: not have to mask his autism) is something he envies, breaking through that veil of apathy he wears.

The story Dungeon Meshi is telling here is that it is important to value the needs of yourself and of others. Shuro's apathy towards his own needs in a bid to prove his love weakened him. In acting like he was above his old teammates, he never spoke to them like people to smooth out his issues. He's never even noticed how much his vassals love and care for him.

(and the incredible irony is not lost on me, that Shuro's name is because Laios mispronounced it and was never corrected... while Shuro never noticed that Izutsumi had the unwanted name "Asebi" forced onto her when she was "taken in" and made his slave.)

See how that comes back to the theme? Shuro doesn't exist to just "be some asshole" or act like a villain. He has a full character arc that contributes to the narrative.

For Mithrun? I won't even spoil it. Go read Dungeon Meshi. Watch elf depression. We love a king with strabismus.

Anyway,

If you ever need good personal resources on any stigmatized mental condition, I've found it's usually productive to go into the #Actually (Thing) tag here on Tumblr. You can find people posting about basically anything. I found a lot of really good resources on NPD that way.

[cryptic-rainfall]

I've been hemming and hawing over this big impulse purchase for months now. I keep going back & forth, will I use a sewing machine enough to justify its purchase, do I even have space for a sewing machine, will I get the time/energy to even do anything with the sewing machine or will it just take up space and be a waste of money. It's been like this for months. And just today I realized two things:

1) I've done so much research and internal debate and even measuring the space in my closet. It's been months since I first considered actually getting a sewing machine. This is no longer an impulse purchase. This is a well deliberated purchase.

2) I am tearing myself apart over a purchase that would be less than $150. People who make less than me can blink that much money away and not be negatively affected at all. They wouldn't even notice. This is not a big purchase, it's a medium purchase at best. I should just get the damn sewing machine.

[lanternlightss]

don’t have the energy for it rn, but god i want to write something with loop and siffrin, because i. have been thinking about how loop reacts to siffrin coming back to talk to them repeatedly

they’re the one who asks and keeps insisting for company, yet when siffrin comes back twice, thrice during the same loop, they’re—baffled? don’t you have anything better to do, stardust? go on, talk to the others, you might’ve missed a little something!~

just thinking about. the specific conversation of:

“my, with how often you come to see lil ol’ me, i might begin to think you see me as a friend!”

“…yes? would that be so bad?”

and loop… grows quiet. lost, for words.

[tchaikovskaya]

fr why cant yall just recognize when you are not the intended audience for A Post and keep scrollin lmao

[jinanreona]

@wishkept sent:

"A question for you, Kingscholar." Malleus tucks a hand under his chin, tipping his head to the side as he studies his fellow dorm head. "What advice would you be willing to give in regards to earning a woman's romantic affection?"

He gives a disinterested hum at the other's voice, only half listening as he continues in his solo game of chess. It's only when the other's query sinks in that emerald eyes settle on the fae, the lion doing little to conceal his amusement. Malleus Draconia asking for romantic advice? He had to wonder if the world was ending or was the other so infatuated with this 'lady' that he's desperate enough to ask Leona of all people for help.

"...Advice huh?" The curl of his lips in a mocking smirk is hint enough that Malleus may not hear the advice he wants, Leona giving the other little time to respond to the rhetorical question as he continues, "I could write you an entire book and I doubt it'd be any help to you, lizard. You're 'bout as smooth as that goop the bat makes~"

Of course that didn't mean he wasn't curious who had caught the fae's attention. It wasn't like the guy frequently had a partner to parade around. "So who is it? Someone from the island or back home?" Or is she even real? He was tempted to say as much, but held his tongue for now. It was best not to push the other's buttons too much lest the fae storm off at his teasing.

[scriptedencryptid]

Cured