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fyrapartnersearch · 6 years ago

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rEEE writers inbound

hey there! i’m rhys. i am 22, live in the ct, and love ooc chatter! my ooc is pretty lax, but i promise my writing is a helluva lot more formal. i write in third person, past/present tense, and paragraph form. im not a rapid-fire writer, and won’t be able to constantly get replies in every day (i can get responses in anywhere between every couple of days to a week or two). however, i will ALWAYS put tlc into all of my posts and characters! i write anywhere between 300-900 words. it’s definitely alright if you don’t feel up to that amount at any given point, but i do appreciate keeping it somewhere in this range. im very wordy, and can spew out a novel if im excited enough lmao

my limits are pretty general; i will not do beastiality, pedophilia, vore, or scat. i can indulge in a variety of kinks, but if it’s a little much for any average person, i’m less likely to write it out (i.e extreme ddlg or adult babies, furries, extreme pet play, etc.) but i can be persuaded to lightly touch on certain kinks as long as they’re not 10000% filth lmao i cannot, and will not, do seme/uke or top/bottom dynamics. absolutely not. queer relationships shouldn’t be defined by whose taking the D. i dont want to interact with squeamish little femboys, or awful macho men with downright rapey tendencies. versatility is key, and power struggles are what i live for! i will, however, indulge in BDSM dynamics with certain plots— although, domination isn’t always about penetration, you know?

give me characters with aspirations, hopes and dreams, and crushing past experiences that flesh them out into who they are. no one is perfect, and we all have things that rear their ugly heads in the dark. problematic characters, male or female or anything in between, are everything. i love lgbtq+ characters, as i am part of the community myself, and will almost always be more inclined in writing queer characters. not to say i won’t write for strictly straight pairings, m/f, but usually i am iffy when approached with it if i am just meeting you.

i write for all genders, ethnicity, and orientations! you can find a few writings examples of mine here. i am pretty welcoming of most things. smut, of course. some kink a little out there that you want to suggest? let's do it, dude. i am super OOC friendly and i am pretty much a garbled mess when i get to know you! i’m a social person— i feel like a burden if you’re not into chatting with me, so please, if you’re not looking to be both a writing partner as well as a friend, i might not be the gal for you. i am open to crooked relationships, ones that don't function right, dark/morally corrupt characters, unconditional love, etc. my interests fluctuate! i am down, 24/7, guys! i only roleplay over email, but will ooc chat over discord or hangouts! here's a list of fandoms and pairings below that i am looking to write for atm. i do have many more, but these are just the ones off the top of my head!

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Borderlands

Handsome Jack/Rhys

Handsome Jack/Rhys/Nisha

Life is Strange

Max Caulfield/Chloe Price

Max Caulfield/Kate Marsh/Victoria Chase

Nathan Prescott/Warren Graham

Rachel Amber/Chloe Price

Frank Bowers/Damon Merrick

Dick Grayson/Jason Todd

Dick Grayson/Slade Wilson

Dick Grayson/Wally West

Harley Quinn/Pamela Isley

Batman: Telltale Series

Bruce Wayne/John Doe

Bruce Wayne/Selina Kyle

Bruce Wayne/Harvey Dent/Selina Kyle

Marvel

Stephen Strange/Tony Stark

Bucky Barnes/Sam Wilson

Thor/Bruce Banner

Peter Parker/Harry Osborn

Peter Parker/Wade Wilson

Wade Wilson/Vanessa Carlysle

Gwen Stacy/Peter Parker/Harry Osborn

Peter Parker/Wade Wilson/Vanessa Carlysle

Uncharted

Nathan Drake/Samuel Drake

Nathan Drake/Harry Flynn

Chloe Frazer/Nadine Ross

TTGOT

Asher Forrester/Gwyn Whitehill

Rodrik Forrester/Arthur Glenmore

Mira Forrester/Margaery Tyrell

Gryff Whitehill/Elaena Glenmore

Gared Tuttle/Finn

Gared Tuttle/Josera Snow

The Walking Dead

Rick Grimes/Negan

TWDG

Javier Garcia/David Garcia

Clementine/Gabriel Garcia

Clementine/Louis

Clementine/Violet

Marlon/Louis

Javier Garcia/Paul “Jesus” Rovia

Far Cry (3-5)

Jason Brody/Vaas Montenegro

Jason Brody/Bambi “Buck” Hughes

Ajay Ghale/Pagan Min

Ajay Ghale/Sabal

Ajay Ghale/Sabal/Amita

Rook/Joseph Seed

Rook/John Seed

Rook/Faith Seed

Punisher

Frank Castle/David Lieberman

Frank Castle/Billy Russo

Mass Effect: Andromeda

Scott Ryder/Reyes Vidal

Scott Ryder/Gil Brodie

Scott Ryder/Peebee

Sara Ryder/Peebee

Sara Ryder/Vetra Nyx

Kill Your Darlings

Lucien Carr/Allen Ginsberg

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Onto original plots!

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Office romances/BDSM/Friends with benefits-turned-lovers

okay, so, i had this type of roleplay with someone a while back. maybe more than two or three years back that i fell out of contact with and i could never really get it out of my head because it was probably one of the best character-building stories i’ve ever taken part of. :’) i don’t remember their name, but i do hope they’ll contact me again if they ever see this. while some of this may seem specific, none of it is concrete and i promise i am very easy to get along with and very accomodating! the plot i remember had three different relationships— completely different people, with different lives and different worlds, with only one common thing between them being that they work in the same building. we can do all three, or we can do a few, or even one! i dont mind.

**pairing A; M/F preferred (lol i know broke my own rule, but i adore femdoms! extra: please come with an open mind. this is not a 50 shades AU, and i do not want it to be.) this one is between a CEO and an intern in their senior year of college. The CEO is a femdom, and freshly out of divorce, takes a liking to the clumsy intern who’d spilled coffee on her more than once. The intern has never been in a relationship with an older woman, let alone one running a multi-million dollar company, but hey, isn’t that the dream for some broke twenty-something down on his luck? She introduces him to BDSM, and while he’s hesitant, the idea is as exciting as it is frightening. He accepts her offer— while it’s difficult at times, he begins to learn more about her. Her ex-spouse, her young child, and her unwillingness to develop a sincere relationship with him. She’s had subs before, and while she tells him he isn’t disposable, he begins to feel it was the truth. He grows to have feelings for her, and while she isn’t too keen on admitting it, the feeling is mutual. I’d love to explore their dynamic in and out of sex, and the conflict between the intern and her ex-spouse. I love age gaps, and think it would be awesome to see them develop over time to find common ground to establish a personal relationship and trying to even out their power imbalances. I don’t mind playing either the CEO or the intern, but I am leaning more towards the CEO. :V**

**pairing B; M/M preferred (this one is waaay more gritty and more dub-con than anything so please beware!) this one is between two higher-ups who have been butting heads for years— and occasionally, sexual tension neither have acted on. A is a snarky, openly gay man, and probably what some would consider shallow and noncommittal. B is a brooding, closeted ‘by the book’ type well into his thirties, and refuses to engage in anything sexual with men despite his obvious attraction; B has younger siblings he takes care of as well as his mother, and being the oldest son and only provider, hasn’t done a thing for himself in twenty years. A lives completely alone, complete with a bachelor pad and, the influx of flings that went nowhere past sex, and has risen to the top with his own sheer will. they have conflicting motives, and while both of them have an intense hatred for each other, they’ve never engaged in physical altercations in fear of losing their jobs. one day, A jabs a little below the belt, and finally, B starts swinging. this fight turns into something way more heavy in the company parking lot. what happens between them in the long run is something desperate, needy, and longing for real affection. it began as a mindless need for sex, angry and mean and formal, with B being especially unwilling to ‘give up’ his masculinity and ever be on the receiving end in fear of losing the control he needs to keep this up. i’d love to see them begin to see each other in a different light, and changing each other for the better. i’d also love to see A showing B that sex doesn’t have to be meaningless, and that he doesn’t need to fear letting A be in control. And B showing A that commitment isn’t as terrifying as it may be, with them gradually going from rivals, to friends with benefits, and eventually lovers. i, again, don’t mind writing for either! **

**pairing C; F/F preferred. (aaa this pairing is way more fluffy and sweet, with hurt/comfort as a stable of their dynamic.) this one is between two small-office employees in the company. A is fairly tame at work in order to support her sibling(s), of which she has adopted from her father’s custody years ago. she is fairly confident with her sexuality, and while not being the type to frequent clubs, is dragged along by a few friends and there, meets B. B is a young woman who just recently got out of a relationship with an abusive ex fiance— B has only ever been with that man, and was never confident in exploring her sexuality due to a religious upbringing and parents who were dead set on traditional values. she’s never strayed from her ex, and while he wasn’t faithful or remotely good to her in return, she was heartbroken with their split. months after, he returns to the city and B’s close friends decide to take her out on a girls’ night to make her feel better— B coincidently sees her ex, and feeling childish and unattractive, heads off to the bar to get a drink. she’s nowhere near a drinker, and just before she does drown her sorrows, is hit on by A. while initially shocked, B is flustered and finds herself immediately attracted to A. they have a one-night stand, and while B believes that A would just leave in the morning, A instead lays with her until she wakes up, and leaves her number. B is too anxious to text her. they bump into each other at the elevator that Monday. they agree to be just friends, until B knows what she wants. A is willing to wait. B might have a crush, and A is intent on building B up to love herself and her body. i would overall prefer to write for A, but if you’re dead set, no prob!**

Serial killer/1960’s/Small town sheriff

no preferred pairing! would love, love, love to see something between a serial killer and a small town sheriff in the mid-to-late sixties. we could make up a new little town, or find one to our liking! A is the sheriff who had been born and raised in this town with a good home life, loving parents, and a steady moral compass, albeit trapped in a loveless marriage. they know everyone, and every nook and cranny of the place like the back of their hand. this is the type of place where people don’t have to lock their doors at night, or constantly watch their kids when they’re out in the yard playing. that is, until people start going missing and horrifyingly mutilated bodies began to pop up around town. B is a well-liked baker in town; known to be genuinely friendly and kind, B has a very corrupt past. both of their parents were heinously abusive, and as a child, B developed sociopathic tendencies. B was inherently spiteful of the town and the people in it, for leaving them to rot in hell for eighteen years, and for never reaching out. B formed a god complex, his intentions to ‘purify the corrupt’. they keep tabs on almost everyone in town, and the victims they do take are put in the soundproof basement of his home to be ‘baptized’; tortured, beaten, and mutilated beyond recognition. A and B are friendly with each other as A comes to the bakery every morning, with B’s motives completely unbeknownst. one night, A, frustrated and pissed from the dead ends of the case of the decade, decides to head to the bar and relax. B is the one face A didn’t mind seeing that night, and one thing lead to another, with A and B in a dark alley getting each other off— i definitely see this as B grooming A to be a complicit pet, and when A gets closer and closer to figuring out who the killer is, he forms a deep connection with B. B develops a possessiveness over A, along with that sense of ownership he’d established between them. B manipulates A, coerces him into a false sense of security, and eventually— A finds out, and while B initially thinks to kill A, A is corrupted by B and forms some kind of stockholm syndrome for B. it’s up to A on whether or not they turn B in, or cover the killer’s tracks. B, despite his very sick and repulsive nature, develops a true infatuation for A, as close to love as they were ever going to get, and A is desperate enough to please B that they’ll do anything to not disappoint them.

Post apocalypse/decades later/immunity

no pairing preferred! the plot I had in mind is loosely based off of a video game called "The Last of Us", which i am sure most of you have a general knowledge of! (definitely check it out if you don’t :O it’s a great game!!) the prompt i was shooting for goes something like this; in a post-apocalyptic world where a pandemic has killed off most living species, character A is a lone wolf with little to do with other people that don't benefit him, except for a select few. A is especially rough around the edges, as he's lived through some sick shit and lived to tell the tale. A had once been part of a group dedicated to finding a cure, but things went south, and a lot of people died. A had a close bond with the leader of said group, and coincidentally they were the only survivors. their past together, having been deeply demented and twisted, caused them to fall out. said leader has rebuilt a new group in the ten years since the last time they'd seen A. character B is the only known immune person alive, and has dedicated their life to being a resource to finding a cure. A and his (current) contact/partner in crime have something taken from them, and are determined to get it back. they do some searching, and are confronted with this group-- they have what they need, but are only willing to give it to them for a favor in return. no one can outrun their past forever. so, this plot isn't concrete. things can be changed, we can do whatever we want, and i am happy to comply to any revisions or suggestions! i'd really enjoy taking on A, if that's alright!

TREASURE HUNTERS/ANCIENT CURSES/LOVE-HATE DYNAMICS/MODERN

treasure hunters!!!! yES!! think Uncharted or Tomb Raider. an architect/treasure hunter is being funded an expedition to find a lost treasure and they are forced to bring along a reporter in order to receive the funds. the reporter and architect certainly dont get along in the beginning— they bicker, and clash on most fronts. the expedition wasnt meant to be dangerous. what was initially thought to be a simple job turned into something treacherous; bandits, a team of hired hitmen and their leader looking to take the treasure for themselves, and some rather supernatural elements that they both couldnt quite put a finger on. the treasure hunter and the reporter have to work together to get out of this alive, and get to the artifact before someone else does. (the “treasure” is definitely up for debate!! we can chose a real life lost treasure, or just make one up!! it can be anywhere around the world, and everything is at our disposal).

DEMON/INHERITANCE/HUNTERS/MODERN

character A has an awful time living in the city— alone, and without mom's guidance, completely lost. one day they receive a call about a deceased relative, one they'd never heard of, one that apparently left their estate and everything in it in their will to A. with nothing but the clothes on their back, A took a shot in the dark and drove out to this presumed "estate" come early summer, only to find that it's a mansion in a tiny little town with an eerie vibe and populated by the typical small town churchgoers and farm folk. living in this town was a hell of a challenge; everyone was nice, too nice, and people started to go missing. character B is an exceptionally charismatic, charming person and the only mechanic/handyman in town. A and B become friends, partially, when A needs to fix up the piping in their estate. A stumbles upon the attic one day, and for once, they start to get why this whole town reeked to the roots in weird shit-- their deceased relative was tracking something here in this town, having to do with all of the MIA townsfolk. DR has a board of possible suspects, and at the center? B. A shrugs it off as their relative having been paranoid, but the longer A stays in this town, the more apparent it becomes that DR wasnt crazy. B is, in fact, not the murderer, instead a supernatural being (open for debate! im on the fence with demons, vampires, etc.) on a mission to track down the monster, same as DR. i am so down for internal struggles, sweet gestures, and overall, two people just trying to make it work! i could also see A being hella paranoid that B is the monster, and maybe tries to throw cloves of garlic at them only to realize thats not exactly how this monster hunter business works lmao

DEPRESSED WRITER/YOUNG MUSE/between 1920’s-1960’s/sex, drugs, & the american dream

m/m preferred! A is a severely depressed middle-aged man believing his life has been wasted. his wife left him with their child at her hip, his career was in a rut, and he had nothing left to live for. opting for suicide, he goes out one evening to purchase a bottle of gin to down with a handful of prescription sleeping pills when he returned to his apartment. instead of going directly home, he’s swept in by the music in an underground club for queers. there he meets B; all encompassing, angel faced, and the only person A didn’t know how to look away from. B is a former US Navy Seal, aspiring musician, and avid indulger of the human body— A stays a little too long, owlish and red, and after the show, B approaches him with a cattish smile. they spark a friendship, and A is thrown down the rabbit hole when B introduces him to his social circle, filled to the brim with drag queens, junkies, queers, and the overall unusual— he integrates into this community, his contemplation of suicide only a distant memory, and begins to find himself extremely attracted to B. he lights a fire in A, something dangerous and unquenchable, and A finds himself drawn in by the unpredictability. A embarks with B on a journey of self exploration, passion, and inevitable love in a world that scorned the oddities of human attraction and anyone who dared to be free.

thanks for your time! if you've read through, please contact me at [email protected] on email or rhys#3615 on discord and mention kiwi somewhere in your initial message. n_n

Rhys xoxo

#oc rp #multiple paragraph #long term #email #marvel rp #twd rp #smut rp #mcu rp #dc rp #submission

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biofunmy · 5 years ago

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‘The Handmaid’s Tale’ Wants to Be More Than TV Medicine

What do you do when reality starts looking uncomfortably like your dystopian fiction?

When Bruce Miller began work on a TV adaptation of Margaret Atwood’s 1985 book “The Handmaid’s Tale,” the primaries for the 2016 presidential election still hadn’t happened. The Supreme Court was less conservative. Thousands of children hadn’t yet been separated from their families at the southern border.

The events in Atwood’s novel, set in a religious dictatorship called Gilead in which the few fertile women are separated from their own children and forced to reproduce for powerful couples, seemed … if not quite impossible, then at least not imminent.

Since then, legislators in several states have voted to ban or limit women’s access to abortions, and it seems increasingly possible that Roe v. Wade will be challenged. Families have been broken up. Isolationism has flourished. Many of the things that happen in the third season of “The Handmaid’s Tale,” which began Wednesday on Hulu, “are close to what’s happening” in America, Miller said.

“It’s horrible,” he added. “Our job is to think of what would happen in one of the worst places on Earth. Then it’s our place.”

After sticking to the plot of Atwood’s novel for its first season, Miller and his writers went beyond their source material for the second, imagining the transformation of June (Elisabeth Moss) from a regular young woman into more of a freedom fighter. Given the opportunity to escape Gilead in the Season 2 finale, she chose to stay. Critics wondered if the misery was sustainable.

In an interview in New York last week, Miller discussed violence fatigue, his efforts to keep the series entertaining in a heavy political climate, and how he runs a show so intimately interested in the experience and pain of being a woman. These are edited excerpts from that conversation.

It seems to me there is a less violence in this new season than there was in Season 2.

It depends how you define violence. Gilead is a brutal place. Brutal places express themselves through brutality. Just because I’m tired of it doesn’t mean it’s going to stop. I really try to show only the things that if you didn’t see, you wouldn’t understand the story or the characters. You have to go through it with June in order to understand her. To take that away is to take away what June is fighting against.

Also, there’s the cautionary part of the tale. We don’t ever make up cruelties, because that just seems like pornography. We unfortunately have plenty of material that exists in the world.

The first season debuted in the first half of 2017. How has the political climate in America over the last two years affected the show?

I started writing Season 1 before the primaries began. I had no idea who was going to run. It’s nice to feel like you’re doing a political show at a political time — it’s not all the time that people are thinking about how government works, or doesn’t work. I think all that stuff has much more of a bearing on conversations and in the world now.

It’s not just in America. I notice that when I go to other countries, they feel like the show completely reflects their political system, especially when I was in Rio de Janeiro. They were crazy for the show because they’re having a #MeToo movement in their culture, which has different and more serious problems than ours.

I think there’s a little bit of this story that you can see in your political world. That’s been the case for 35 years, since the book came out. It’s the universality of Margaret that I’m hitching my wagon to.

There is a sense that watching a show about a repressive dystopia isn’t the best escapism when your political reality feels repressive. Has that changed the way you think about the show as entertainment?

I want the show to be entertaining. The most important thing is that when you turn it on, you want to keep watching until the end. You don’t want it to be people taking their medicine. You want it to be an interesting story.

I want to play with viewers’ expectations and my kids’ expectations because they have consumed so much more narrative than I did. They see 70 stories a day. My daughter who’s 14 walks in and goes, “That’s the bad guy,” just from the angle of the shot. All I’m trying to do is fool Tess.

Can you tell me about the writers room and how you make a show that is so centered on women’s experiences?

We’ve had pretty much the same people in the writers room since the beginning. The room is majority women.

It’s a show driven by a woman’s point of view: It’s June moving through the world. I don’t know what that’s like, as much as I imagine. That’s the entirety of my job, I’m always writing somebody else, so there are things I don’t know.

I think one of the problems with the journey for more diversity and diverse voices in the writers room is you don’t want a singular voice, because a singular voice ends up being just as stereotyping. You want people to fight it out. So you need people who are both willing to be honest and also don’t feel bad when you start asking them questions about superpersonal things, about sexual assault, about child-rearing, about their feelings about being pregnant, miscarriages … all of those things you have to discuss in the writers room.

We tried to bring in at least one new writer every year because you’ve got to have someone who watched the previous season and can say, “Well that didn’t make any sense.”

So much of the plot is driven by these deeply horrific experiences: rape, torture, imprisonment. How do you approach writing about trauma on the show?

We do research through experts. We do a ton of research. I always like to start with the real thing, because you can extrapolate off that.

I’m certainly not an expert in feminism, or totalitarianism, or the Bible, and the people in the show are, so I have to bring in people. And I think the biggest assumption that I can make that’s going to screw me is to assume I know what it’s like.

For example, we were very interested in this season about what happens when Emily [a handmaid played by Alexis Bledel] gets across the border. She’s now a refugee. What the hell does that look like? And so we got the statement that you have to make, and that’s what the guy says to her: “If you return to your home country, would you be persecuted based on being a woman? Would you be subject to the danger of torture or risk to your life? As a person in need of protection, do you wish to seek asylum in the country of Canada?”

June’s relationship with Serena, the wife of the Commander she is assigned to, was so nuanced in the last season and continues to evolve. At what point did you decide to develop their relationship?

It happens naturally. I think it was Margaret Atwood who made the decision for them to have such a close and complicated relationship because that’s how it was in the book. I also think we follow Elisabeth and [Yvonne Strahovski, who plays Serena] more than they follow us. That’s the great thing about TV, you can watch an episode and then adjust the next one based on what the actors do. They’re just as much storytellers, narrators as we are.

What is the show’s relationship to the book at this point?

I feel like the show is very closely connected with the book. The goal for the show was just to make the book into a TV show; I had no interest in changing anything.

Everybody’s like, “How could you continue the book?” I’m like, “How could I not?” If I’m given the chance, all I want is to know what happens next.

I really do think that I’m never getting very far away from the book. I know people feel like the story is going beyond it, but it’s June and Gilead. I am in contact with Margaret a lot. She reads all the scripts. She sees episodes, and so she feels the same way, I think — that it’s a good extrapolation of her world.

But now Margaret’s writing a sequel.

Yeah, that’s going to be interesting, isn’t it?

Yes. That’s a nice word. The degree of difficulty was 10 and now it becomes 10 plus.

June does seem to have had an awakening over the course of the show, and certainly the June in the book was much less rebellious in a lot of ways.

She was also a woman from a different time. We were mindful that this June should be more like Elisabeth is in the world, rather than like someone who was that age 35 years ago.

Elisabeth has shown me what a real hero looks like, that it’s about being knocked down. It’s about having tiny little victories that you use to build tiny little other victories. What do you learn from your failures? I don’t feel like we see it very much, the heroism of just doggedness.

There’s a moment in the third episode of the new season where June’s voice-over talks to her mom and says: “You wanted a women’s culture, well now there is one. It isn’t what you meant, but it exists.” The idea of the resistance in Gilead’s being a version of the female-led society some feminists have wanted for decades is really interesting.

That’s from the book. And there are some things from the book that have fascinated the writers room ever since we sat down. We have quotes from the book up all over the place. It’s much more about things that have stuck with us and puzzled us. We spent three years kind of teasing that quote apart.

I love the fact that it shows that a women’s culture can be just as toxic as positive. This is a women’s culture, but it’s a women’s culture that has been vulcanized and then turned on itself.

Sahred From Source link Arts

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