#Some of these are contradictory but what can I say

[theeoriginals]

“It was- not love at first sight, but familiarity. Like, oh, it’s you.” With Klaus or Elijah please! Something to make me feel better while I do this awful assignment 🥲

deep breaths | elijah mikaelson

pairing: elijah mikaelson x reader (no y/n!)

warnings: noneeee this is just sweet

author’s note: i wrote this at work on my phone just now so sorry if it’s not the best <3

The thing is, Elijah Mikaelson has lived many, many lives. He has had so many names, faces, stories, and voices he can hardly remember them all at this point. That, he supposes, is just part of the curse of immortality. Esther likely didn’t think that far ahead out of her grief when she turned them all into monsters. She didn’t think to consider that she wasn’t saving herself anymore loss, she was cursing her children, leading them to damnation and then blaming them for what she did.

Elijah would likely live another thousand years before he was able to fully comprehend all of the tangled, contradictory emotions that came with vampirism. A gift and a curse, like most things.

What he could for certain say was that he’s loved just as much as he’s hated. He would even argue that you can’t possibly know what it means to hate someone unless you loved them before, unless you still loved them. And although he believed that, he was not someone to give second chances often. At least not to anyone besides his siblings— though that was a different beast altogether.

Elijah knew that even if he hated someone, someone else could love that person just as much. He’d seen it often enough, felt betrayal in his gut like a stake to the heart.

Love, in all of its glory, was not often kind to Elijah.

So whenever his siblings found it necessary to tease him for being so uptight and closed off, he did nothing more than roll his eyes, because it was much easier than telling them that he was scared. Truly, deeply, in his ancient bones, he was scared. Not of love itself, but of the continuously growing sense that he would never truly find real love. And perhaps it was entirely too human of him to think that way, and perhaps it made him weak to some, but Elijah knows that his brothers and sisters more than anyone crave love just as much as he does. He knows they feel it just as deeply as he does, that want in their bones that rushed through their blood, the want for someone to just come in and never leave.

It’s hard to find that when you outlive most people. Harder than one might think, even if you fall in love with an immortal being. It’s not just that he’ll outlive most everyone he could fall in love with, either. It’s that every time it seems he’s done it, he’s fallen in love even knowing it won’t last but letting it happen anyway, it doesn’t— it doesn’t fill that void inside of him.

It doesn’t flood his mind and his body, it doesn’t fill him with life, it doesn’t make him want to breathe.

Elijah doesn’t have to breathe, but he wants someone to make him feel like he has to.

For the past thousand years he’s fought and won and lost, and he’s done his best to keep his family alive despite everything they do to drive him insane, despite the fact that they try to kill each other more than anyone else. He has been holding his breath for a thousand years, fighting and fighting and fighting. He wants to exhale.

He can’t explain this to his siblings. They would understand, he knows, but it’s something he’s never said out loud to himself let alone anyone else. Saying it out loud makes it real, and he can’t— he can’t admit it. When you are drowning, when you are holding your breath, you don’t realize you’re drowning for a long time. And the moment that you do, you realize that you can’t breathe and suddenly you’re gasping for air and you’ve all but killed yourself.

Elijah can’t admit that he’s drowning.

He sighs loudly, and it’s not an exhale and it doesn’t lift that weight off of his shoulders. It’s an expression of his annoyance with his siblings, because this far into their collective immortality, all they live for is getting on each other’s nerves.

And here at Rousseau’s is the last place he wants to entertain their petulance. You never know who could be listening, and Elijah really doesn’t want anyone less than favorable to hear about his love life, or lack thereof.

“I wish you’d just bring someone home to meet us at least once!”

“I wish I could go out and have a drink without being harassed by you people,” Elijah says moodily.

Rebekah pushes her bottom lip out in a pout and widens her eyes in a way that has always gotten her anything she wants from anyone ever. Elijah is, in fact, very aware that he and his brothers have worked overtime in making her as ridiculously spoiled and entitled as she is and yet he still manages to be surprised when she behaves like this.

“We aren’t harassing you, Elijah, we want you to be happy. Is that so wrong?”

He sighs again and closes his eyes for a moment before opening them again and fixing them on Rebekah and Klaus. “It’s not wrong. But I don’t know what you expect me to do about my lack of prospects, it’s not like the perfect person can be conjured at whim.”

Klaus lifts a finger and Elijah knows that he’s going to say something ridiculous before he even speaks. The gleam in his eye never bodes well for anyone. “I bet we could find a witch to do just that. We could compile all of your wants and desires in a partner and get a witch to mix it all together for you. Problem solved, Elijah has a soulmate!”

Elijah gives his brother a deadpan look. “Is this witch Victor Frankenstein?”

Rebekah snorts in amusement, and Elijah dutifully ignores it.

“Be creative, Elijah! Open your mind,” Klaus swipes an arm out dramatically, sloshing his drink over the side of his glass, splashing a few drops of bourbon onto Elijah’s suit jacket.

Elijah’s lip curls in distaste and he gives his brother a look of disdain that goes ignored.

“I have an open mind, what I don’t have is an open schedule,”

“You are not as busy as you like to believe,” Rebekah drawls out, finishing off her own drink. “Your life will never change if you don’t go out and do something different! You’ll be stagnant forever, and I do mean forever, brother,”

“I will never be stagnant with your dramatics, Rebekah,”

She rolls her eyes at his avoidant response. “Your love life is stagnant. I don’t even think stagnant is the proper word, it is downright nonexistent. It is extinct.”

“Thank you, Rebekah,”

“Even if you have a sleazy, completely forgettable one night stand, you need to do something. You’re constantly dealing with us, you need to focus on yourself!”

Elijah pours the rest of his bourbon down his throat, barely tasting it as he swallows. “Maybe if you did less idiotic things that I have to deal with I’d have a more active love life. And truly, I’m not sure why I’m being lectured when you two are the furthest thing from romantically successful.”

“I have a child, I’m plenty romantically successful!”

“She was conceived during a drunken one night stand with a werewolf who is now married to someone else.”

“The details don’t matter, I have a child to show for it. I have a father’s wisdom now, you should listen to me!”

Elijah raises an eyebrow. “Unfortunately, I am not part dog and therefore am actually incapable of reproducing much like you thought you were. And considering the trials and tribulations we went through with Hope, I can’t imagine I’d have any better luck in my own venture to fatherhood.”

“You’re being purposefully obtuse,”

“That doesn’t sound like me,” Elijah simpers, gesturing to the bartender for another round for them.

“I have a challenge,” Rebekah cuts in before Klaus can continue their bickering, and Elijah narrows his eyes at the determined gleam in her eyes.

“I don’t like this,”

Rebekah dismisses him with a flutter of her fingers. “The next person to walk through that door, I want you to go and talk to them. You don’t have to have a one night stand, you absolute prude, but you need to speak to someone that you’re not related to, and that isn’t trying to kill you.”

“Rebekah—”

“I don’t want to hear it. Just do this one thing for me, for your darling little sister,”

“My darling little sister—”

“Shut up, look! Someone’s walking inside, get ready to go be your charming self,”

Elijah groans and turns to look at the door as it opens and someone walks through. He sighs again, weighted, empty, scared.

When he lifts his gaze, though, he finds a woman. He takes her in— eyes, nose, lips, hair— and thinks beautiful.

The bar is as crowded as ever, no breaks in sight for the bartenders and waiters, and he’s tucked away at a table with Klaus and Rebekah in the back corner because they are particularly antisocial and Klaus really just wanted to use this outing as a way to remind everyone that they are still here, and that New Orleans is still theirs. The exit is across the room, Elijah has not paid much attention to the distance at all, and yet now.

Now, the crowd of people in between him and the door is frozen and endless. Elijah’s standing before he realizes, and it feels like he’s stepping around the people frozen mid-laugh, mid-drink, mid-bite, because the world has stopped just long enough for him to cross the room.

He parts the crowd and stops before her, eyes roaming over her face. Committing it to memory and vowing to keep it there for the rest of his eternal years.

She looks at him with a smile, blinking at him slowly like she’s got all the time in the world. There’s a necklace sitting on her chest that has a familiar blue stone hanging off of it and he inhales sharply.

He thinks vampire, perhaps a coincidence but things rarely are for him and it’s something new to think that she is immortal, too, of course more fragile than an Original but if she’s smart, and he knows that she is, he can feel it, then she’ll last just as long.

“Hi,” She speaks first, and the world starts up again, the noise comes back and people unfreeze. Now that he’s stood here before her, the world can keep spinning, but it had to wait— it just had to wait for him to catch up.

“Hello,” He responds quietly, too quiet for the bar, but she hears it anyway. “I’m Elijah.”

Her smile widens and she says, “I think I knew that already,” and then she tells him her name and Elijah repeats it for himself, and then for her, and then he turns it over in his head a hundred times over so it never gets lost.

She tilts her head slightly, looking up at him. “Were you trying to leave? Am I in your way?”

“No,” He responds quickly, almost rushed. “Not unless you’re leaving, too.”

She seems pleased at his response and the longer he looks in her eyes, he thinks he’s found a new favorite color.

“I’m not leaving,”

Elijah exhales, and the weight is gone, and the void is no more. And he thinks— oh.

There you are.

[qiu-yan]

the schrodinger's sect thing you bring up is really interesting, because imo it's the result of the jiang cheng haters trying to simultaneously two separate and often contradictory systems of values to roast jiang cheng.

western culture, at least, tends to follow at least these two separate systems of values:

the system of values that centers compassion, kindness, humility, and caring; ie. values typically associated with christianity.

the system of values that centers strength, accomplishment, independence, pride, and nobility; ie. values typically associated with ancient rome.

(nietzsche goes off to kind of an insane end about these, but this really isn't the place to discuss master and slave morality.)

now, these two systems of values are different. there are a lot of situations in which they can overlap and/or in which having virtues from one system will also bring you virtues from the other system, but there are just as many cases where traits one system classifies as virtues are instead classified by the other system as vices - cases where it is impossible to be "virtuous" under both systems.

and from what i've seen, jiang cheng haters often end up saying seemingly contradictory things because they simultaneously employ both systems of values to roast jiang cheng - even when it makes little sense to do so because, as stated above, these are two different systems of values that do not always align.

some common jiang cheng fandom roasts, categorized by me:

"jiang cheng is selfish," "jiang cheng only cares about his own reputation," "jiang cheng doesn't understand reciprocity or the concept of repaying debts," "jiang cheng is spiteful and hateful and unfair," "jiang cheng could have easily had yunmeng jiang help the wen remnants, he just didn't want to because he's a hater," etc.

"no one respects jiang cheng (and he deserves it)," "jiang cheng didn't accomplish anything," "wei wuxian's golden core was 80 years more advanced than jiang cheng's," "yunmeng jiang's success is due to wei wuxian, not jiang cheng," "jiang cheng is an inferior/mid-tier cultivator at best," etc.

a pattern emerges: jiang cheng is #Evil and his #Evil has the capacity to hurt others (ie. wei wuxian, no one else matters lol); therefore, jiang cheng must be at least somewhat capable of materializing his decisions into reality. however, wei wuxian is also supposed to The Best There Ever Was and the fandom's specialest little boy, so jiang cheng also cannot be more competent than wei wuxian. in fact, the more incompetent he is, the better, because incompetent people are Easy To Roast and the real purpose of this exercise is to bash jiang cheng. jiang cheng has to be evil so we can bash his moral character, but not so evil that wei wuxian caring about him and protecting him starts to cast shade upon wei wuxian's moral character. jiang cheng has to be incompetent so we can bash his failures, but not so incompetent such that he becomes unable to effectively act on his evil.

now, let's look at how these claims might contradict each other.

consider the claim "no one respects jiang cheng (and he deserves it)" in conjunction with the claim "jiang cheng could have easily had yunmeng jiang help the wen remnants, he just didn't want to because he's a hater." the latter is the single most common criticism of jiang cheng. the former is a hot take i saw a few months ago as a potential explanation as to why everyone seems to call jiang cheng by his birth name and not his courtesy name.

think about it: MDZS repeatedly establishes that how capable you are of protecting yourself and your people, as well as how willing others are to hear you out, is directly correlated with how much respect you command from your peers and from society; furthermore, "respect" flows from political power: if you are powerful and people recognize you as powerful (two things that may be considered synonymous, given that the existence of political power is made possible in part by popular consensus of its existence), then people will naturally afford you more respect, even if purely to serve their own ends. therefore, if no one respects jiang cheng, then jiang cheng cannot be said to have a lot of political power. if jiang cheng does not have a lot of political power, then - given that the faction wei wuxian pissed off with his actions is incredibly powerful - jiang cheng as a political leader does not have the ability to take in and protect the wen remnants from lanling jin. therefore, if no one respects jiang cheng, then jiang cheng could not in fact have easily stood by wei wuxian's side; these two claims cannot simultaneously be true.

imo, the people who try to argue at once that jiang cheng is evil and that jiang cheng is weak/incompetent do so less because they understand his character or even because they're trying to analyze this piece of media, and moreso because they've already made up their minds that This Guy Sucks Actually and are therefore trying to slap every negative adjective in the book onto him. in the same way that many of the same people will argue that "[trait A]=good, wei wuxian=good, therefore wei wuxian has [trait A]," these people will blithely argue that "[trait B]=bad, jiang cheng=bad, therefore jiang cheng has [trait B]" - all without realizing that, in the pursuit of their #canon haterade, they've merrily meandered off the path of canon and basic logic and into the territory of pure bullshit. this instinct to assign every bad trait under the sun to jiang cheng is also what i suspect drives people to call him, a character who does not seek romantic and/or sexual connections with women anytime onscreen, an incel. seriously, guys, words mean things.

sorry to go off on your post, op, especially about a largely unrelated topic. "Schrödinger's sect" was just a really good way to describe an irritating fandom phenomenon i've observed for a while.

Since I'm being jumped by JC antis for pointing out their double standards, let’s dissect the debts owed by Jiang Cheng and Wei Wuxian, shall we?

Wei Wuxian's Debt to the Jiang Clan:

Wei Wuxian’s debt to the Jiang Clan is immense by ancient Chinese standards. He was saved, taken in, raised, and trained by them, essentially given a new life and a future as a cultivator. In traditional chinese culture, this kind of debt would require a lifetime of loyalty and service to repay. However, Wei Wuxian chose to protect the Wen Remnants, a decision driven by his personal moral beliefs and sense of justice, effectively putting his principles over his obligations to the Jiang Clan. This choice made it impossible for him to repay his debt in the way ancient values would have dictated, as he directly went against Jiang Cheng's leadership and the interests of the Jiang Clan.

Jiang Cheng's Debt to the Wen Siblings:

Jiang Cheng’s debt to Wen Qing and Wen Ning is also significant—they saved his life and ensured his parents' bodies were returned with dignity. The expected repayment from him would traditionally involve some form of reciprocal protection or aid, such as offering them sanctuary, advocating for their safety, or using his influence to speak on their behalf. However, as the new leader of the Jiang Clan struggling to rebuild after the Sunshot Campaign, his first duty was to his own clan's survival. Repaying this personal debt to the Wen siblings would have required protecting the Wen Remnants, which would have risked his clan's stability and political standing. In the end, his obligations as a sect leader took priority.

The Double Standard:

So here’s the issue, antis love to criticize Jiang Cheng for not sacrificing everything to repay the Wen siblings, judging him by the standard of traditional cultural values. But when it comes to Wei Wuxian, they switch to a modern standard claiming "children aren’t expected to repay their caretakers," to dismiss his debt to the Jiang Clan. If we’re judging both characters by the same standard of "repaying debts," the fact is, both made choices based on their circumstances. Jiang Cheng prioritized his clan's survival, and Wei Wuxian chose his moral beliefs. To condemn one while excusing the other is just hypocritical.

[butwhatifidothis]

(regarding the Fort Merceus scene)

"Claude doesn't know as much about the Seiros faith because he's an outsider" thanks for ignoring the entire point of Claude's route just to insist he doesn't grow as a character

Ohhh wait, no, it's not that he's not knowledgeable, it's just him definitely lying! Because disagreements? Regarding tenets of a religion? Impossible! Claude must be feigning ignorance and lying because that's all he does as a character! He's tricking the diligent Lorenz into thinking things that aren't true, because Church Bad and Claude would never tell the truth!

[sleepyyghostt]

any time i remember that trump supporters are in any way associated with christianity i feel fcking insane

[writeouswriter]

I think the best love story is the one that’s not trying to be a love story, it just is

[unabashedmoonlight]

While Alina sympathised with Aleksander's loneliness and everything she felt through the tether, it would have been funny if she, at some point out of pettiness and irritation, had been like,

"One would expect a villain running for world domination and winning to be a bit more happy, but no, depress me even more. If you are miserable in spite of your victory and we are miserable because of your victory then who even is happy here?? At least let me feel second hand happiness, what is wrong with you?!"

[truecorvid]

reddit is such a great reminder that cis people do not understand gender or anything about modern gender theory at all. like no hate. i get it. but oh my god

[daz4i]

how and why is there discourse about whether or not certain queer identities exist/if people should be allowed(???) to use them. why is "people know their own identity better than you ever could, and they're the only one who get a say on what they are" such a tough concept to grasp

i think if you find yourself offended by the label someone uses (especially if they're a stranger) or think it invalidates your own, it's a good idea to look inside yourself and question why that may be. more often than not, it's a result of insecurity or uncertainty of your own identity (or many other things, but i won't make a whole list here). whatever reason it is, until you resolve it, you shouldn't take it out on people for having an identity you don't understand

many have said it before but it's worth saying over and over. infighting only helps our oppressors. conservatives don't care if you're a cis gay or a xenogender aegosexual aplatonic lesbian, they hate all of us either way. trying to fit in by going for people who are easier targets for them isn't gonna help you, it'll just alienate you from your own community, and you're never gonna please them. the momentary rush you get from hearing you're not like "one of /those/ gay people" is not worth it and is gonna do more harm in the long run, i assure you

also, it is important to me to say this, but having some less than nice kneejerk reaction caused by confusion about an identity you don't understand doesn't mean you're a bad person or anything. as long as you aren't mean to that person, and you take a second to think smth along the lines of "wait a minute, this isn't any of my business" after having said reaction, you're good 👍 a lot of reflexive reactions we have to things are ingrained into us simply by. well. living in a society 🤡 and you're not terrible for having those thoughts. it's your actions that matter, and your second thought (the "wait, why did i just think that?") is more defining of your actual character and morals than your reflex. i know that having thoughts like this, even tho they're unwanted, can very easily make one spiral, so it's important to me that whoever needs to hear this knows this doesn't make you a bad person 🙏 you're good, keep taking actions to be good, accept other people even if you don't understand them, and you're on the right track :)

[shoechoe]

Ghiaccio's White Album is probably a really convenient Stand to have around with Grateful Dead. I imagine he could keep the rest of the group from aging so it can specifically kill the target while keeping the members of La Squadra safe from harm's way. (I kinda wonder what the Grateful Dead fight would've looked like with Ghiaccio there or what missions would look like with him and Prosciutto paired up instead. There would be no need for the freakout over losing ice cubes and Bruno's group would probably try to use the freezing ability as refuge only for Ghiaccio to go "Ha! No, sucker!" and reverse the effect or just start freezing them to death or something)

[caffeinatedopossum]

Not triggering just personal

I really need to vent about being asexual and sex repulsed but I feel like no one will understand and I get how a lot of the things I think will sound but I really just need to for once get these thoughts off my chest without having them being morally appraised because they *aren't* my morals, they're just things I can't change.

And I don't want people to TRY to change it either! Or to try to figure what ~hOrRiBle trAuMas~ could have possibly made me "this way". It's not that I think there's nothing wrong with me, it's just that this thing needs to stay neutral to me if I ever expect to actually understand it. I want people to stop morally appraising and physcoanalyzing my sexuality through the lense of inherent trauma!!

I just want to talk about this without feeling like I need to put a disclaimer before every sentence, explaining why I feel the way that I feel. I don't know ok! I don't know why I feel the way that I feel sometimes. I'm just doing my best and I wish more people would understand that. Maybe you don't get an explanation because this is my identity and doesn't need to be justified. I just want to understand myself.

[streetsandsodiumlights]

beat bg3 today and now im daydreaming about post-game character interactions…

[bemusedlybespectacled]

proposing what I'm going to call Gaylor's Razor, which is: never explain normal shit as being part of a secret message that can only be decoded by over-analysis.

"These Taylor Swift lyrics are actually coded messages saying that she's a lesbian and is forced to stay in the closet! Any lyrics that are clearly about being attracted to a man are just to throw us off the scent!" Sometimes people, like Taylor Swift, are straight and write about being straight, because they are straight.

"The fourth series of Sherlock was deliberately bad because it was actually a coded message to us fans that there is a secret fourth episode that will make Johnlock canon and will actually be good!" Sometimes writers (even experienced writers who are normally good at their jobs) will write something that's not good, because no one is perfect. They're not going to waste everyone's time and money and energy creating something terrible on purpose as part of a grand master plan.

"Tessa Virtue and Scott Moir, the Canadian Olympic ice dancers, are secretly married (with kids)! Their public relationships with people who are not each other and them repeatedly saying 'we dated as kids and now we're just friends' are just to hide the truth! Which they need to hide for some reason! Their relationship is obvious just from their physical chemistry when competing! JUST LOOK AT THIS TWO SECOND CLIP OF HIM BLINKING AT HER!" It seems counterproductive to put all that thought into hiding a relationship that doesn't need to be hidden but then also telegraph that same relationship in front of millions of people through planned choreography.

"But BB, what about times that people really are speaking in code or hiding something due to outside influences?"

If it requires huge leaps in logic, like adding all the letters in a sentence together and dividing by seventeen and that number matches the binary sequence for the color yellow so YELLOW MUST BE SIGNIFICANT, it's not a secret code.

If it requires focusing on teeny tiny details but discards huge ones, like analyzing someone's micro-expressions but handwaving away what the person is actually saying out loud with their mouth, or focusing on one specific line instead of the entire scene or song or whatever, it's not a secret code.

If both supporting and contradictory evidence are used to come to the same conclusion (ex: when Taylor says something that I interpret as gay, that means she's gay, and when she says something that I interpret as straight, that still means she's gay and just hiding it), it's not a secret code.

Trying to apply fandom meta analysis techniques to real life is a really good way of fall into conspiratorial thinking that can be easily exploited. You can totally try to predict what's going to happen in a story or choose to interpret a scene in a specific way; you can't do that in real life with real people. That way lies the kind of nonsense that leads to shit like "this image of pizza on a children's toy is actually subliminal messaging by The Cabal™ that proves that Pizzagate is real."

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[defire]

Scare your whumpee

(some conditioned/pet whump ideas here)

Choke them until their eyes widen and pupils dilate with panic

Snap your whip over their head just to watch them flinch

Tell them you're going to stop at 5 lashes. Listen to them beg and wail when you don't

Give them contradictory orders and watch them struggle to decide what to do

Like order them not to speak, then say "I didn't hear a 'yes sir'!" And watch their mouth open and close in terror

Give them ambiguous looks so they have no idea if you're pissed or not, what is awaiting them later?

Fake emotional explosions--yell and then get really close and watch them flinch and stutter and apologize

Give them hope. Tell them you won't punish them this time, if they can just keep from pissing you off for 10 minutes. Watch them walk on eggshells.

Tell them to convince you why you shouldn't hurt them

Quiz them on their actions. Who knows, maybe they'll admit to something you can punish them for! And meanwhile you get to watch them tremble in terror about whatever they think they did wrong.

Punish them for showing emotion. watch them struggle to contain their fear.

[multigenderswag]

I'd like to talk for a bit about the genre of post that's like "sure you're a boygirl fagdyke genderfreak but do you respect [trans identity]?" I think these sorts of posts do address a lot of important points, such as:

Even if you're genderqueer and going "gender isn't real! smash the binary!" there's a real possibility you haven't unlearned or might still be upholding some very transphobic sentiments, and you should do some introspection about that

Some people only want acceptance for their trans identity but don't want to do the work to deconstruct what gender looks like, stop holding other people to their own gendered expectations, and unlearn their internalized bigotry about different trans identities

Sometimes the [trans identity] is specifically relevant to the identities referenced, such as people who will do surface level acceptance of "boygirls" but then call multigender people problematic for using "contradictory" terms like male lesbian, or asking "are you normal about intersex people?" to point out the prevalent intersexism in the multigender community.

But if the [trans identity] or intersex identity being asked about isn't related to multigender community issues, it seems a little strange to consistently single out labels like boygirl and fagdyke that tend to be used by multigender people in these posts. All kinds of trans people can be transphobic about other trans identities. All kinds of trans people are capable of fighting for their own acceptance but not anyone else's. But these posts are pretty frequently just about boygirl fagdykes.

It reminds me of posts about a "theyfab named Sock being transmisogynistic." Are there transmisogynistic FTX nonbinary people? Yes, no one is immune from perpetuating transmisogyny. But these types of posts are still exorsexist.

Similarly, though I'm not saying the pattern of "sure you're a boygirl fagdyke genderfreak but do you respect [trans identity]" is necessarily exorsexist or transmultiphobic, since like I said they do address important points, some of which actually are multigender community issues. But people do use those types of posts to be really transmultiphobic and exorsexist, but in an "acceptable" way, because the boygirls are transphobic so it's okay to hate them.

Some examples in the notes of this sort of post asking 'are you normal about trans women?":

This assumes that multigender identities are only an online thing, only a young person thing, that all multigender people look cis in real life, that no multigender person has experienced real transphobia.

Again, this assumes that no multigender person "looks like a freak" for their gender, that they never struggle with transphobia offline. And straight up saying they have a "huge issue" with girlboy genders.

Multigender labels aren't "performative titles," they're our genders. This person is just straight up admitting they think our genders are fake, that they're only "titles" and not real fucking identities.

"I tend to Not like multigender people" okay so we're just saying the quiet part out loud now

By all means, keep talking about intracommunity transphobia. It's important. But don't throw multigender people under the bus to do so.

[brujaluas]

Your path to success

pile 1

There is something here that is holding you back, it could be an obligation that you need to fulfill at the moment, a bad job, even a bad college or a course that you don't like to do but for some reason you are doing it.

I would say that you are a young soul, not young like a teenager but you are at a learning age, so it is not the end of the world, paths can always change, you have potential but you need to let go of what is holding you back, be it a person, an ideal, a job, a course, wow, I know this sounds contradictory but this cycle that you are currently living needs to be completed and ended. in order to have prosperity in your career and success.

pile 2

Wow, only positive letters, what can I say? You are on a one-way road that only leads to success. Right now you may be starting something or thinking about starting something, go ahead, do it, step on the gas. It's the right path. I see you taking the lead. You can lead projects or start changing your stance, becoming more authoritative to get what you want because life will demand it of you in a certain way. For some here, you may even be successful as an influencer or something related to publicity, many careers here are focused on people, being in a prominent position where people will see you. And you will be very successful, it's marked here. Be careful with drinks.

pile 3

hm you are also getting closer to having the recognition you expected, whether from a specific public or from someone who wants to draw professional attention. I see that you can even become a kind of ambassador, someone recognized in your job market or company, people can come to you for advice or help, because you will become a reference person. Here the professions involve legal issues, so it can be something related to being a lawyer or something humanitarian where you give people a voice or help them to have a voice, you speak for people and also professions related to the mind and logic can also be ideal, such as psychology is a good option.