#I BULLSHITTED MY WAY THROUGH ALL OF THEM

[sea-jello]

Morrotober Day 5/October 5: Fly || Sunset || "Time to go home."

RAAUUGGHH HAPPY LATE MORROTOBER EVERYBODY FIRST ONE OF THE MONTH AND EVERYTHING I DID HERE I HAVE NEVER FUCKING DONE BEFORE SO IM KINDA PROUD OF IT LOWKEY

slight variations under the cut lol

i tried doing the yellow filter thing they had in the show but i dont know how to do that so i just put like brown over top and hoped for the best and idrk how i feel about it tbh tell me which one yall like better

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[imavikingo]

[dont-offend-the-bees]

Fuck I hate being an adult. I need a more adult adult to help with the volatile emotional situation.

[naamahdarling]

.

[novella-november]

Is this fanfic friendly? I feel like an outlier.

I guess this is my sign it's time to throw together a FAQ post to link to lol.

Yes, every event for this blog is fanfic friendly :D

Though as I mentioned on my Ominous October post, for events that include multiple short stories, I encourage everyone to flex their creativity and take one of their planned short story fanfics, and at least *attempt* to turn one of them into something entirely original; rebuilding a character and story from the ground up to stand on its own two legs is no easy feat, and that is what makes it so fun!

It really gets your creative gears turning, to make an "au of an existing material" to be something entirely original, and you can be pleasantly surprised about the things you come up with!

As a few people say, its not just a matter of "filing the serial numbers off" -- you have to add in just as much *or more* as what you take out when you are turning a fanfiction into something that is original and completely divorced from its original source material / inspiration, and that is a hard, but very rewarding challenge!

Obviously, this is not a requirement (there's no hard requirements for any of the challenges, other than no cheating, including no using AI),

but if you would like an extra challenge for the short story events and you're planning on doing entirely fan-fiction, I highly recommend trying it out at least once, and seeing where it leads you--

you may find yourself pleasantly surprised by what you find down that rabbit hole!

[swagging-back-to]

the way literally every fucking person has been REPULSIVE about euthanasia lately.

[that-foul-legacy-lover]

today just will not let me rest huh. reasons are in the tags but i get very emotional just be warned

[bondagebimbo]

LOVE when the pharmacy decides to fucking dick around with my meds so badly that now I’m off my mood stabilizer, my pain meds, and my fucking birth control (in a few days) because they’re insisting I should have extra fucking bottles of each one and I DONT because they don’t let me pick up more than a one month supply of narcotics at a fucking time so do explain where these extra bottles are, hmm ????? and they didn’t have enough caplyta ordered last time to even give me my usual 3 months supply of that so … ???? get your fucking heads out of your asses and give me the fucking meds you owe me ??? like ??? but I’m in a nasty headspace right now so if I call the pharmacy this morning, I’m going to be that cunt ass customer they bitch about all day because this isn’t the first time they’ve done this. in fact, the first time, they straight up committed insurance fraud by marking one of my scripts as filled and picked up WHEN, IN REALITY, THEY FUCKING LOST THE SCRIPT AND HAD NO RECORD OF IT BEING FILLED OR PICKED UP IN THEIR SYSTEM, BUT YET, MARKED IT AS SUCH AND CHARGED MY INSURANCE AN ALMOST 8 GRAND FOR THE FUCKING 3 MONTHS OF MY MOOD STABILIZER THAT I. NEVER. RECEIVED. I’m genuinely about to report this entire pharmacy to the pharmacy board because I’m so fucking done with this place. it needs to be shut the fuck down because you’re telling me, out of an entire pharmacy, y’all share the same IQ point AND dead brain cell, collectively ??? then don’t fucking work in healthcare where people rely on you to know your shit and keep track of their fucking meds because you’re just constantly making shit worse on people since you can’t seem to not fuck around with these meds and not ‘lose’ scripts. fuck out of here.

and I’m pretty much out of weed, which is usually my back up pain management method, without the money to afford a delivery order by their cut off time to order in 3 hours because I just paid my fucking bills and have SOME to go towards it, but not enough for delivery to be free, and I’d still have to walk my ass to one of the ATM’s nearby because they don’t accept my bank as a prepaid method OR any of the cards I have on my person. 🫠

I can literally feel my back spasming and seizing on and off while I’m laying on my fucking side, I’ve had a migraine with a stupid ass aura for almost a week now because chronic migraines fucking suck and i was REALLY hoping this one would be over by now, my muscle inflammations that my pain meds are supposed to limit are already beginning to start their itching deep in my muscles so soon they’ll blossom into a whole fibromyalgia fucking episode and become entirely inflamed, my joints in my hands fucking hurt because of the dreary weather so I really need to get into a rheumatologist at some point soon as well and get that shit figured out, I’m nauseas as fuck from all the pain, and I’m moody, hormonal, and just feel like fucking death physically.

I’m just. I give up.

this shit is exhausting and painful and so mentally fucking taxing to constantly deal with and I just want a fucking break from all this fucking shit. I wish I could just … not exist … for even just a little while with how fucking painful existing actually feels right now 🫠😭

[theladyfae]

i think human nature/family of blood is a really good two parter in how it manages to show how full of shit ten is 🫶

[solradguy]

This book I got to scan for otherkin talks about quantum physics-based magic. I literally cannot escape quantum physics-based magic systems. Can Guilty Gear just like give me a moment, ok, for getting me consistently into this mess. I need to throttle Dr. Paradigm. My brain is getting so wrinkled from having to learn about quantum theory and particle theory and Planck's Constant and Heisenberg's Principle and Bohr models... At least it's in English this time. I GUESS.

[vmures]

Want to know why I never trust the "protect the children!" crowd?

Almost always the people doing really harmful shit, or even very potentially harmful shit, to children are in that crowd.

They're often the type that circulate actual CSA materials as a bizarre gotcha to people they are bullying and calling pedos (as an example, remember the campaign against ao3 staff a while back were policy and abuse volunteers were getting sent this shit).

They are also frequently the ones to include graphic violence and implied or actual graphic sexual abuse in fics deliberately mislabled as General Audiences and tagged in a way that makes the fic seem like harmless fluff. All because they want to harass a group of people and don't care if children and teens stumble upon it. Technically children shouldn't be on ao3 (at least not as registered users since the ToS require you to be at least 13), and generally I say that it's up to children who do go to ao3 to be careful of what they read and mind the tags and ratings. But how can they do that if you deliberately mistag and misrate your fic.

In short, "protect the children" is more often than not a dog whistle. It can be one for the "we must control our children and everything they learn" crowd (frequently but not always evangelicals here in the US) or it can be one for the "I need a weapon to dehumanize, attack and traumatize those I dislike and this serves as both a weapon and a cover for my harassment and abuse of others. After all, I can just say I'm doing this horrible things to protect innocents even though I'm actually deliberately harming or setting up potential harm to children through my actions." Often it's a mix of the two camps. Ultimately, they don't actually care about children, it's just a nice smokescreen.

[danceworshipper]

@hphm-ship-week Prompt 1: Dance

A short and sweet one to start the week off!

Ship: Gracie/Merula 💚🐍

Date: November 2nd, 1998 (married for almost four months)

"This is stupid, Chiva," Merula said, her signature haughty frown firmly on her face.

Gracie, however, had a ridiculous grin as she turned the volume up on their new muggle CD player, some song she'd never heard of blasting through their home. Since they'd moved in together she'd slowly been convincing Merula to incorporate more and more "technology" into their lives - the television being the greatest success so far - and she knew that as much as Merula protested, she'd be on board by the end of the day.

"It's music!" Gracie said.

Merula scoffed. "It's noise is what it is. Turn it off."

"Rula, muggle music isn't that different from wizard music."

She was lying, a little bit. This particular song had some strange noises that Gracie didn't think could come from the instruments she was acquainted with, and it was hard to make out what the singer was even saying.

"It sucks and I want it out of my house."

Gracie raised her eyebrows. "Whose house?"

Just as expected, Merula flushed and looked to the side, crossing her arms. "Shut up."

"It's our house," Gracie answered herself, coming up beside Merula to rest annoyingly against her shoulder. "And this is our CD player."

"It's your damn CD player," Merula protested.

Shaking her head in amusement, Gracie walked over to the pile of CDs she'd picked up at random and looked for one that would be a little closer to the type of music they were used to. It was unfortunately hard to tell. One CD with a red cover seemed like a good bet, so she popped out the loud noisy one and set the red one in instead. This one had recognizable instruments like guitar and piano, and the woman was singing about love. Much better.

Gracie turned back around to find Merula still pouting with her arms folded, watching her. Caught staring, Merula huffed and turned her head away again. Merlin, Gracie had to pick the stubborn one, didn't she? Feeling immensely fond, she crossed the room to take Merula's hands, despite the emphatic protests, and pulled her to the middle of the room to twirl her.

"Gracie," Merula warned, but the flush on her cheeks was deepening.

"Come on," Gracie teased. "Can you fault me for wanting to dance with the Most Powerful Witch in the World?"

The title earned her an eye roll, but it also earned her a more cooperative dance partner. And if after a few songs Merula did eventually start to enjoy herself, even going as far as to dip her far more suavely than expected, Gracie was wise enough not to comment on it.

Much.

[sea-jello]

Day 31/October 31: Halloween || Death || Costumes

never forget the skeleton had hair

[butnotbubblegum]

using the tags to vent my current emotional state into the void bc ig story feels like a bad plan for this, read at your own risk.

[jenniesban]

Okay, season 3

I found it tiring and repetitive. didn't need 10 episodes. 8 was enough. just like previous seasons.  

Carmen in this maniac episode was almost insufferable to watch. Everybody on here was waiting for him to be down, but the writers could’ve done better, and Christopher Storer could’ve shown us better.

First of all, his relationship with Claire wasn't that deep. I know it's all in Carmy’s head, the way he visualizes her etc, and yes I have a high degree of myopia, but this was not shown in s2. It makes me mad watching this lack of commitment with his partner and sister in an opening business.

I care about Camy, and it’s so tragic that he can’t get out of this cycle of abuse. but I’m a human, and sometimes I really wanna beat him. I know he's trying, but this man needs to take his head off his ass asap. Showing his situation with one hundred flashbacks was monotonous to watch. 

About Sydney, I’m so mad how they wrote her this season. Are they gonna end this show without showing us a center episode of her??? this season was a perfect moment to develop ONE OF THE LEAD CHARACTER OF THE SHOW!!!

My girl was passing for so much and alone, but the writers were like, nah, let’s show bad comedy with the Faks instead. Put a woman to babysit Carmen and Richie, two grown-up men for the entire season, it’s insane. (she's so much better than me)

I love Sydney so much, and we know she would rather get a shot than talk about her private life with anyone, but I need her to fight. I need her to speak. The panic attack scene breaks my heart, I don't think is all carmy's fault. It was a mix of everything. Fear of the future, insecure about everything, thinking about her found family and the possibility of losing them, starting a new business all over again (when she spoke on s2 that she didn't have in her to try again), fear of failure again. But I wish they had shown it better from her pov. They should have improved this part. 

I ended this season with a bitter feeling. It’s not a good writing job to have ten episodes of preparation to be resolved in the future. 

(And since Christopher Storer likes Taylor Swift so much, he should take all this hate train and enter his reputation era, and give us a better script in s4. #i think the bear is gonna finish in s4, so lets be productive and finish the show in a good way. please, all this with Joana Calo by his side, let her write!)

I loved Tina’s episode (thank god Ayo directed the best one), ice chips were insanely good. Abby Elliott and Jaime Lee Curtis!!!!!111!1 and the first episode was so well edited and directed. i love those actors very much so, they are so talented.