#a lot of these are the first book in a series

[rancidslime]

Hold on I'd actually love to talk about Archie comics and the forces behind Riverdale for a second because they're legitimately fascinating.

So, before we talk about why Riverdale's so bonkers, we gotta talk about Kevin Keller. Archie's cast and those of its spinoffs being thrown into Situations of wildly differing tone and periods is a time-honored classic of the series, but that started to mean more than just "here's a story about the gang finding out what kissing is in prehistoric times" after the successful introduction of Kevin in 2010. For those who may not know, Kevin was the first openly gay character in the Archie comics, and his release was kind of a huge deal - Archie had always been seen as this squeaky-clean symbol of (white) Americana, so something like that happening in the new 10's - to fucking Archie - was legitimately groundbreaking. (He's since been followed up with characters like Toni Topaz and Eliza Han, but Kev was the first.)

Remember, Archie is the kids' comic book in America, for better or worse. Superhero comics can vary wildly in tone and intended audience, but if a parent grabs their kid an Archie comic from the shelf at a grocery store, they basically know what they're getting and don't have to worry about someone's neck getting ripped out on-panel. Getting something like Kevin in the "safest" comic short of Family Circus was kind of a watershed moment.

(As an aside: some have pointed out that Kevin isn't a terribly interesting character, being something of a masc everyman All-American Boy™, but I would argue that that's basically all Archie is, and at a time where all the "gay representation" kids were getting were horrible caricatures of fem men as envisioned by straight people, whitebread masc guy Kevin is kind of exactly what the doctor ordered. I would go so far as to argue that presenting this gay teen as unquestionably part of the gang, slotting into Archie's idealized 50's aesthetics perfectly, was one of the best moves they could have made for the era and surrounding climate. This was a time when "Gay men are just as capable of performing masculinity as straight men" was a legitimately transgressive statement. I'm a Kevin apologist. A Kevin defender.)

So, Kevin's release is huge. He's very popular with kids and adults alike, to the point where his introductory comic and miniseries sell out faster than any other Archie comic in history. He got his own spinoff within two years. People love Kevin.

So what does this have to do with Riverdale, beyond Kevin being a character in it? Well, Kevin Keller proves to the leads behind Archie that modernizing the series has the potential to be very lucrative indeed, and this is where Archie starts to get shockingly experimental. (Relatively speaking, anyway.) The new 10's see the release of Life With Archie: The Married Life, (a dual-timeline soap opera exploration of his married life with either Betty or Veronica) Afterlife with Archie, (a zombie story incited by Sabrina trying to bring Jughead's dog back after he was struck by a car) and of course, the infamous Chilling Adventures of Sabrina. (This one got a Netflix adaptation, but in case you need the cliff's notes, basically it's Sabrina the Teenage Witch only the witches get the power from worshiping Satan.)

These series were also well-received. Enter Roberto Aguirre-Sacasa, the guy behind the aforementioned Afterlife with Archie. After the success of the title, he was made Chief Creative Officer, and he's also the showrunner of Riverdale, and here is the reason Riverdale is Like That.

So while Riverdale is undoubtedly an incredibly weird cultural object, I think a lot of people who aren't familiar with the show or franchise get the wrong idea about it. I think the biggest point of confusion among onlookers is "How in on the bit is Riverdale?" and I would respond: extremely. Are you kidding? Why is there even any doubt about this? Sacasa is a gay guy who got cease-and-desisted for writing a play that reimagined Archie as gay in 2003. This dude got promoted specifically for playing with genre and making Archie weird as Hell back when it used to be considered a dull, whitebread relic. You think shit like the "I'm weird. I'm a weirdo." speech and "That means that you haven't known the triumphs and defeats, the epic highs and lows of high school football." happened by accident? You think it just stumbled into doing an entire Hedwig and the Angry Inch episode? Oh, no, my friend. That shit was the result of a demented fag writer doing what demented fag writers do best; produce camp masterpieces. Everything about Riverdale is completely intentional.

Now, is it good? No, of course not. It is, however, great fucking television. I don't really watch the show outside of a few isolated episodes, but I am really glad it exists.

Gritty sci-fi webcomic where partway through the third major arc the protagonists get trapped in some sort of utopian false reality by a mysterious godlike being, except they never escape and the comic just changes genres to quirky coffee-shop slice of life until it's unceremoniously cancelled six years later.

[tossawary]

I revised one of my older fics and, in doing so, pushed my "Scum Villain Stories" series over 1,500,000 words! That's the series that is just SVSSS fics, 28 of them now, no art collections or other fandoms.

It's been a little over 4 years now since starting, and it's funny to think that about 500,000 words of that was the first year, mostly PINTWILF. I had a lot more free time and drive then, I think! It's also funny to look back to when SVSSS was a more obscure series, with neither a donghua nor an official English translation, and I genuinely had no idea whether or not anyone would read a story mostly focused on a minor character within those less popular books and his friendship with an OC.

I do wonder sometimes how I've influenced fandom! I don't think that I have a Word of God Big Name Fan setup (I hope not, that sounds terrifying, I do not want to be on a pedestal), but after I've written so much that has been relatively popular, I don't think it's unreasonable to wonder how my personal interpretations and/or specific choices for certain AUs have helped (helped!!! not alone by any means!!!) to shape various fanon perceptions over the years, for better or worse. I've had a few people tell me that they've read SVSSS because of my fics, which is cool, or that they've read my fics but not SVSSS, which is also cool, though I hope any potential fic authors do check out the original books rather than rely solely on my characterizations in particular AUs.

When I first started writing for SVSSS, a lot of Shang Qinghua additional tags such as "Shang Qinghua centric" or "POV Shang Qinghua" didn't really officially exist yet, so I guess I feel part of an early wave of SQH-focused fics (there were others! Lots of them before me! It was not just me!) and that's neat. It's cool to think that I had so much fun playing in a sandbox that I might have convinced other people to climb in to have their own fun.

It's fun to see fandom posts like: "Finding an story you like and then discovering the author has a bunch of other fics just like it is like finding the Holy Grail." I kind of get to go: "Hey, that's me for some people! 😄♥️"

[queer-ragnelle]

Understand is is a very weird question to get out the blue so no offence taken if this gets left in the inbox, but I was wondering how (if at all) to integrate transgender knights into arthurian retellings/adaptations ect while trying to keep it vaguely true to the medievalisms of the whole thing? I know its easy and liberating to just go 'fuck it everything queer' and its a totally valid way to go about it, but (as a trans person) I like having a narrative examine queerphobia and other structual issues with the setting - gives the whole thing a bit of meat (in my personal tastes). That being said, it feels like its a nightmare to try and have a transmasc knight stay stealth in this place! Everyone feels like theyre getting stipped and tended to after breaking a rib in a joust or merlin shows up and is a dick about pronouns and outs you to get you married to a Roman king. Stuff like that - things that feel a little easier to dodge when its a civillian character, not an ruling class.

Is this a 'kill the cop in your brain' kinda deal? As a queer storyteller yourself do you have any tips or strategies or tools you use to crowbar this kinda stuff a little easier together? Or do you know any stories/retellings/academic texts ect that cover these kinda things (even if its in a 'for the love of god, don't do that' way). Love the work you do for this fandom a lot, regardless of your answer! Hope you have a good day.

Hello anon! This is a great question.

Now let me preface this by saying I’m not transgender and I’m not a medievalist. There are plenty of trans medievalists on tumblr, but I’m not one of ‘em. So my answer is coming from a queer but cis author and enthusiast perspective. I'm going to provide lots of links to read things as well so everyone can draw their own conclusions from the material.

I think a large part of this does come down to “kill the cop in your head.” But at the same time, I’ve been exactly where you are wondering, “How can I make this story feel authentic to its era without torturing the trans characters?” Because you’re right, there’s a lot of nudity and close proximity interaction between knights in the medieval stories and Merlin is totally the type to be a dick about pronouns. I've also searched and struggled to find a medieval-set story that manages to incorporate queerness in a period-appropriate way (so far as we can guess) while balancing the narrative as to not tip into something deeply unpleasant for the target audience to read. (See: the series by Lavinia Collins, which has great queer rep, yay! But tons of horrors previously unseen and still unnecessary, boo!) So where does that leave us?

Well first I’m going to give you an example of how not to handle transness in an Arthurian story....

The book Once & Future and its sequel Sword in the Stars by Amy Rose Capetta and Cory McCarthy went with the phenomenon you already described as, “fuck it, everything queer.” It doesn't take place in the past, but does use the medieval stories as more than reference, it's not as divergent as something like Port Eternity by C. J. Cherryh, the reincarnated characters do interact with the past directly at times, so I'm using it as an example.

Anyway most characters are either gay (umbrella term) or trans. Except the way trans characters are treated sucks majorly (in my opinion). I completely lost faith in book 1 after the introduction of Lamorak, a gender fluid knight who uses they/them pronouns. Merlin misgenders them and gets corrected by Kay, to which Merlin does this whole self flagellation routine about. Lamorak is also disabled, missing their left hand. (Why isn't it Bedwyr? Anyway not the point...) Lamorak gets no dialogue here whatsoever, all agency is completely stripped from them regarding their disability and their gender identity. Double whammy.

This is worsened when Percival gets introduced, as Merlin then makes a point of asking for pronoun clarification in the most obnoxious way possible. To which Percival takes no offense at the weird slight against his sibling and tells Merlin his pronouns.

But what about the sequel? Surely these two queer authors improved with time.....

Is this a joke? Is this the best way they could indicate the inclusive realm of Avalon? Why not just describe the women as they are, all shapes and sizes, and let the reader figure it out? The authorial intent would be so obvious by this point. Instead they say it… like that. Gag.

It only gets worse when Mordred is born. Then they're weird about a literal infant.

What in the bio essentialism? If the characters have been living in a future that’s broken out of the gender binary, the baby’s genitals should be irrelevant. Gwen’s literally saying Mordred is going to fulfill the evil prophecy because he was born with a penis. Even if this is intended to be a teaching moment, I hate how it’s handled. These quotes are in order of appearance in the books, so after the subtextual implications of all that came before, this last part really doesn’t sit right with me. Sorry I find these books completely abhorrent. They've won awards, they’re beloved by many. Maybe it's me. But no thanks.

Honestly, so long as you're not blatantly offensive with your handling of such things, I think you'll be fine. It's important to remember that even if one is part of a demographic they're depicting, it's always a good idea to hire sensitivity readers and take that feedback seriously. Not everyone will love your work, there will be advice you don't utilize, with time you'll be able to weed out the bad faith feedback, (the "all depiction is glorification" crowd) and ignore it. But it's so important to open oneself up to constructive criticism so you can learn and your work can develop into the best possible version of itself.

Now let's get to some ways you can go about researching a way to do this that fits in your story. It’s important to remember that throughout human history, many people lived stealth their whole lives and we don’t know about them for that reason, not because no transgender folks ever lived authentically and happily in medieval times. So it’s never impossible to incorporate a trans character into a story who experiences no direct violence, even if the world they live in isn’t presented as a queer utopia. The other thing is that public opinion regarding queerness, cross dressing, etc have varied a lot over the centuries and were vastly different depending on location. Not every “woman” found in armor would have been treated as poorly as Joan of Arc. So there’s lots of wiggle room for interpretation when you go about writing these narratives. The majority of my examples deal with the ruling class so they address the concerns you mentioned with added scrutiny a noble would face if they were to experiment with gender presentation compared to a commoner. I’ll be spoiling the plots of everything on the list to make clear why I’m suggesting them.

My initial advice would be to read medieval literature with queer themes followed by essays on the subject. The best examples I know of are:

Yde et Olive

Transmasc knight (good ending). 12th century French romance. Yde’s mother Clarisse died giving birth to her & later when Yde reaches maturity, her father makes advances, so she disguises herself as a man & flees. Yde becomes a successful knight & is married to the king’s only daughter, Olive. When it comes time to consummate the marriage, Yde must confess the truth of his identity to Olive, who vows to keep it secret. This is overheard by the king who then attempts to uncover Yde’s identity but is stopped by an angel who chastises the king for harassing such a good vassal. Then Yde is transformed into a man, the king dies, & Yde is able to have a child with Olive. They name him Croissant as if it couldn’t get any more French than it already was. Anyway the story alternates pronouns for Yde given the situation which is pretty neat & in the end he gets to live his best life! Yay!

Le Roman de Silence

Transmasc knight (bad ending). A 13th century French romance about a baby girl named Silence. Silence is raised as a boy because King Eban won’t allow women to inherit property. Like many medieval romances, the hero's adventure is often punctuated with personified emotions (Dame Fortune, Lady Love, etc) but Silence is tormented by Nature & Nurture as he comes into adulthood. He becomes a knight & eventually takes on an "impossible" quest, to capture Merlin, which supposedly can only be done by a woman. Content warning for the ending, it does not go well for Silence. Merlin reveals his backstory, & he’s forced to take a feminized version of his name, live as a woman, & marry the king to keep his lands.

Wigalois by Wirnt von Grafenberg

A 13th century German romance that follows Gawain’s son, Wigalois [Gingalain], but this ain’t about him. There’s a character Marine who fights as a knight. She’s consistently referred to with she/her pronouns, but she’s renowned for her knightly virtues & fights alongside the men in the war. She’s treated very well narratively & dies in battle after apprehending a high-value hostage. Everyone mourns her & there’s a big funeral held in her honor. So even if Marine never presented herself as a man the way Yde or Silence do, she provides an example of a female thriving in a male role. Food for thought.

Parzival by Wolfram von Eschenbach

Another German banger from the 13th century. This one’s about a cis male knight but Parzival has transmasc vibes. Trust me. Here’s my favorite article about it called The Clothes Make The Man - Parzival Dressed & Undressed by Michael D. Amey that really illustrates what I mean.

After that, you can check out these retellings:

The Story of Silence by Alex Myers

I bought this but haven't read it yet. It’s a retelling about the aforementioned Le Roman de Silence. This book uses neutral they/them pronouns to refer to Silence, which I can say from experience sometimes causes confusion with readers, so it's good to study how this author did it & determine if that method feels right for you. (If you ever decide to do something like that with a character.)

Spear by Nicola Griffith + Spear's Author's Note

I enjoyed this one, beautiful prose. It didn’t feel like the most comprehensive Grail Quest retelling, but Peretur can be interpreted as a butch lesbian or transmasc, it’s ambiguous. She only uses masculine pronouns when stealth, otherwise using she/her, but it has a happy ending! It’s firmly set in the era & felt authentic on that front while letting the queer characters relax. Peretur isn’t alone. (A/G/L enjoyers keep winning + sapphic lady of the lake ftw + the other hotties Peretur pulled.) Definitely worth checking out.

The Bright Sword by Lev Grossman

This book just came out in 2024. Including it here is already a spoiler given the topic but I’m going to spoil fully from this point on so ignore this if that’s a problem. This is the best example I can give for your reading/writing tastes based on the ask; Dinadan is a trans man. His transness isn’t revealed in the main character Collum’s pov, but in Dinadan’s backstory pov, opening in his childhood. He & his twin brother were sent to different schools but young Dinadan would leave the girl’s school to practice knightly skills with the fay, which retroactively explains why he has a fairy sword that Collum was admiring. In exchange for this training, the fay ask that Dinadan slay Merlin. Which he agrees to while never believing he actually can, but the wrath of the fay in the afterlife is worth his ability to live as a knight. I love how it was all handled firstly because Dinadan has a fighting style that works for his smaller frame & because every knight has a different fighting style (Dagonet’s is “If it sucks hit da bricks.”) Dinadan doesn’t stick out like a sore thumb yet his physicality is accounted for. Secondly Dinadan explains the lengths he goes to in order to stay stealth from obvious ones like binding his breasts to pretending to shave his face every couple days & wearing a packer. Later on, Dinadan’s secrets are revealed when he goes swimming in the ocean with Palomides (who evidentially already knew) & Collum joins them. Collum had no idea, which I think brings up an interesting point about all of this which also reminds me of Gawain not recognizing that Beaumains was Gareth—the power of expectation. Just as Gawain expected to find a kitchen boy & would have no reason to assume his brother (who hit puberty since they last saw each other) would be stealth in the kitchens so therefore didn’t recognize him, Collum expects to find men as knights of the Round Table, so when Sir Dinadan is introduced, & Collum had heard of him before, Dinadan’s stature & high voice don’t register to Collum as anything but traits that this guy Dinadan happens to have. Learning Dinadan’s secret in the presence of another knight who already knows & is chill about it also encourages Collum to be accepting too. So giving Dinadan at least one ally in his corner throughout the story went a long way. In the end Merlin, who can only be killed by a man (which is why Nimue had to settle for sealing him away) is stabbed by Dinadan. So it’s like a reverse Silence/Éowyn situation that Dinadan’s gender is affirmed in his ability to kill Merlin. This book also includes the part from Le Morte d’Arthur where Dinadan’s forced to wear a dress, which in this context is very transphobic, but that’s the point. It’s made better when Dinadan gets to go insano style on Merlin so he gets payback. Just a heads up about that.

Some fantasy/scifi that’s not Arthurian but may help, as Arthuriana is largely fantasy to begin with, this may help you determine where on the spectrum your taste/writing falls regarding the bending of reality/history to fit your narrative.

Orlando: A Biography by Virginia Woolf

1928 novel about a character named Orlando living during the reign of Elizabeth I. Orlando is born male, then at some point in his early adulthood, falls into a deep sleep from which he awakens the exact same person, now metamorphosed to be female. Orlando, for her part, adopts this new role immediately & keeps on moving. She lives for 300 years as such & has many adventures, including an instance where she then presents as a man to elude marriage. Transitioned so she could cross dress in the other direction. She would’ve done numbers on tumblr. Ultimately, Orlando does marry… a gnc sea captain! The success of their marriage is attributed to their similarities in gender non-conformity. Even though this book only remains in the late medieval era for the opening, I think it’s a poignant example of a transgender individual living their life in their time & still getting to enjoy themselves without excessive suffering that may provide lots of inspiration.

The Left Hand of Darkness by Ursula K Le Guin

1970 Hugo & Nebula award winning novel. A fascinating examination of gender from the point of view of a cis man named Genly Ai having to reconcile his interpretation of the gender binary when confronted with a society who operates outside that. His travels with ambisexual Estravan challenges what Ai understands about the universe. His ignorance forms the backbone of the narrative as he grows close to a person from this other society. Even if it’s not a medieval setting, it may help you develop a narrative voice regarding this subject you’re able to bring to your work. Also it’s just really good.

The Privilege of the Sword by Ellen Kushner

2007 Locus award winner, Nebula & Gaylactic Spectrum nominee. High fantasy medieval setting. Katherine is a country girl brought to the big city Riverside by her uncle the Duke where she’s offered the opportunity to train as swordsman (ie cross dress) instead of political marriage. She’s unsure of the reasoning behind her uncle’s motivations for doing this, but goes along with it & kicks ass. A preview is available on Google books (linked).

The Realm of the Elderlings by Robin Hobb

This is my favorite series ever. It spans 16 books published between 1995-2017. The fandom on tumblr & ao3 is hugely active. (Avoid tags to dodge major spoilers or check it out for amazing art & many quotes!) The series has many gnc characters in a fantasy medieval setting. First & foremost, The Fool, who’s in all the books & whose gender ambiguity is mentioned book 1, to which he says, “None of your business.” The character ever. Without getting too specific, there are several trans characters including gender fluid characters who will alternate between masc/fem presentation & pronouns. This is my favorite example of gender fluid characters in any fantasy I’ve read, especially since there are several & each feels unique. In The Liveship Traders trilogy, Amber coaches another woman how to hide her period while pretending to be a ship’s boy by using a sock, so if anyone finds the blood on it, she can say she cut her foot. Little things like that really deepened the realism in an otherwise fantastical story for me, because addressing those details answers questions my overly analytical mind would ask & wonder about if unacknowledged.

Lastly I'd like to suggest the article Armour of an Alienating Identity by Jeffrey Jerome Cohen. While it doesn't mention Parzival (the text), it does mention Perceval (the character), as well as Gareth Beaumains, Lancelot, Gawain, Yvain, and even Arthur himself. It goes on to reference endless examples to support its thesis including Greek heroes such as Achilles and Odysseus with references to many different medieval stories from Old English Beowulf to the Irish Ulster cycle to the works of Geoffrey Chaucer. Most (if not all) of the texts mentioned in this essay can be found on my blog for cross reference if you desire, although the article already contains many quotes.

Okay I think that’s all I got. I’ve given you a ton to think about and read. Ultimately I don’t think there’s a clean cut answer for this. Nuance, you know? Having hired an editor and many sensitivity readers myself, it really is just a professional a vibe check sometimes. You write what you want to the best of your ability, then other people weigh in, and you keep tweaking it until it’s as good as you can possibly make it. During development, and even in its final form, there will be people who don’t enjoy your story and that’s fine. It isn’t for everyone, it’s for you and your audience. No single experience in this life is the same so each fictional depiction emulating life will also be unique, there’s no “right” answer on how to write this or anything else, only the way you want to.

Hopefully now you have some tools to help you learn how best to express your vision. I know they gave me a lot of insight and ideas I lacked before when writing trans characters in my books. Thank you for trusting me with this question and good luck with your project! Take care! :^)

[annleckie]

Hi!

First of all: I love your books, and Imperial Radch is one of my favourite series. It also rekindled my love for science fiction as an adult (years ago, but still very happy about that!).

But the reason for this ask is thus: I'm currently in a rather delicate place mentally, and your books have been my comfort reads before. I bought Lake of Souls, but since short stories can also be darker ones (as in Footprints, it was a very successful creepy story!), I wanted to ask whether there are one or two gentler ones in the collection I could read while in the biggest slumps. I've currently read the first two (loved the Lake of Souls a lot, Spawn stole my heart ❤️), and I'll definitely read all of them, but for now I'll try to tread carefully.

Do not read The Snake's Wife right now.

But I'm a bad judge of "light"--I saw one or two people talking about how Translation State was kind of gross and hard to take and I was like "But Translation State is a very wholesome book! And, yeah, there's some cannibalism in it but it's all *wholesome* and....wait."

anyway. Do read Marsh Gods. Maybe The Nalendar.

I am so glad you liked Spawn, I loved writing Spawn!

[ladylilithprime]

.....I have a lot of books that I've read, but I would hesitate to recommend them even where the authors have not to my knowledge done anything to warrant expulsion from the Good Writer Club on grounds that have nothing to do with writing. Especially on tumblr. Especially when at least two writers I devoured the works of have controversies in their personal lives that have caused many people to shun their works out of a sense of betrayal or just an overdeveloped desire for a social justice crusade. (Not getting into that up here, I've got a whole rant about the need for nuance and critical thinking and that's not the point at present.)

That said.

I did read the Harry Potter books until the fifth one when Rowling apparently fired her editor and started turning her books into more useful bludgeoning weapons. The movies were easier for me to sit through, though the adaptions changed things.

I tried to read Twilight and only got about a page and a half into the first book before I had to put it down from boredom. Again, the movie was easier for me to sit through (lack of first person narrative helped here) and I still haven't seen the others in the series.

I have never even picked up a book by Sarah J Maas, so I can't say anything about the quality of the writing from the perspective of me as a reader.

I haven't heard of any of the others, though I'm at least aware of Robert Jordan, much the way I'm aware of James Patterson.

The books I did read and devour?

The Brainship series and the Pern Chronicles by Anne McCaffrey (requiescat in pacem).

The Xanth series by Piers Anthony.

The Elvenbane and Elvenblood by Andre Norton and Mercedes Lackey.

Pretty much anything by Mercedes Lackey.

The Enchanted Forest Chronicles by Patricia C Wrede.

The Young Wizards series by Diane Duane.

The first three quartets in the Tortall universe by Tamora Pierce, though my appetite slowed after "Squire". (Not specifically a detractor to the later books, just where my own personal interest began to falter.)

The Mists of Avalon by Marion Zimmer Bradley (yes I'm now aware of the issues surrounding her personally, but I wasn't when I read the book).

Pretty much everything by Terry Pratchett...

...which led me to his Good Omens co-author and various books he wrote. (Again with the timing of awareness, not getting into it here, see comments above.)

The Animorphs series by KA Applegate. (Tried to get into the Everworld series, didn't enjoy it as much.)

Kushiel's Dart by Jacqueline Carey (slow-going because I do have to be in a specific headspace to read that much BDSM porn, even when it's well-written and plot-relevant).

My partner loves the books by Lois McMaster Bujold and has read excerpts to me many times, which are quite entertaining.

I read Redwall by Brian Jacques and a couple others in the series, but found them more entertaining when I thought they were just talking animals.

So.

I'm currently sitting in a room surrounded by books because my family are all avid readers on a wide variety of genres. A lot of the books I'm staring at are not ones I would choose to read, and I've never been pressured to read them. My mum (just turned 80) has read many of them, usually right along with me. My dad (now 78) has read many of the same books as well as the rest she hasn't, and he's disagreed with many of them and written journals filled with notes and arguments on many of them. He was once given a book by an acquaintance who told him she thought he should read it because she knew he was a logical thinker (he did read it and told me later that the book was not at all logical; not having read it, I can't say either way).

Point is... go find a library and look through the stacks. Read the blurbs on the inside covers, maybe read a page or two. If you like it, keep reading. Look up the author on your phone if you have to in order to see what else they wrote.

And if you don't like the book, then just don't keep reading. Put it down, move on to another one. Don't go looking for controversy or dirt to justify not liking the book or the author. Don't do it to justify liking them, either. You do not need to justify your personal preferences. You can be aware of the politics the author has, even heartily disagree with their perspective and biases, and still enjoy reading a book. It's perfectly okay not to internalize what you read every time.

Otherwise, I wouldn't still reread The Chronicles of Narnia.

J. K. Rowling gave us facist Wizards.

Stephanie Meyer gave us Mormon Vampires.

And Sarah J. Maas gave us zionist Faeries.

The Holy Trinity of Mediocre White Women ruining fantasy for everyone!

[iwannascreameurekaa]

"if it's okay for poc to be cast as originally white characters then why can't we cast white people for poc characters"

Great question I have a wonderful answer for you

to start this is about a post I saw about Leah playing Annabeth Chase in the Percy Jackson show. Someone in the comment section was complaining about it and saying that they think a white person should be casted for Hazel if there's ever a live action heros of Olympus. This person claimed that if race has no meaning when casting a black perosn for Annabeth, then why would it matter for Hazel?

here's where this person is so incredibly wrong that it confuses me on what their brain is used for if not to make a complete thought. Hazels race was one of the most important things about her backstory

Hazel was a woc in there 1940s she went to a school for colored children. She legit experienced segregation. The whole reason that she had a connection to Leo is because she went to school with his grandfather sammy and the only reason she knew sammy was because of that school for colored children. Just that is enough to tell her that yes her race does in fact have a meaning and isn't something you should change

then the person in the comment section started talking about Frank.. then Leo and then piper. Basically they ranted on and on about any poc character

Let's start with Leo now. I'm bringing back the hazel point because again the only reason that he and Hazel had a funky connection at the beginning of moa is because of that school for colored children. Leo's Hispanic heritage is also important when concerning how his life with his mother was up till he died. One of the reasons he ran away from his aunts house was because she was religious and constantly called him the devil.

what about Frank? Well his Chinese heritage connected him to Poseidon which made him related to Percy which isn't massively important but you know it's a plot point so I see no point in getting rid of it

and piper? One of the first things we find out about piper is that she is bullied for being cherokee. The FIRST thing we see of piper interacting with characters besides Jason and Leo is her experiencing racism. It is insane that some people think that's just a thing that could be thrown away. Her Cherokee heritage also relates to her main character development in the trials of Apollo and lots of her "wisdom" is old cherokee stories her grandpa would tell her

and tell me one fucking moment in the series where Percy or Jason's race was important. Other than them being Greek/roman because they're all Greek and Roman so shut up

oh but since everyone's complaining about Annabeth being black in the show that must mean that her being white in the books is SOOOOO important

... it's not. In fact she's literally 1000x tanner than most of y'all depict her in the "canon" fanart so... yeah. And those of y'all saying "what about her being blonde that's her main character thing blah blah blah" I'm sorry is this the 2000s??? Blondes being dumb is a horribly outdated stereotype that is only ever used in a joking manner now back when the lightning thief was written in was a thing used against blonde women but now it isn't.

You know a certain group that is targeted and deemed dumb because of how they look? People of color, specifying black women.

Annabeth Chase being black is probably one of the best casting decisions ever, and I say this knowing that race wasn't the main thing when casting. Leah is the perfect person to play Annabeth and I will die on that hill. She has the script determination and the emotional range that makes her the perfect candidate for Annabeth.

If Annabeth Chase were real she would love Leah and she would hate you all for saying Leah isn't her.

Rant ended. Get your heads out of your asses before you say more racist shit.

[stormblessed-s]

Kaladin has been my favorite character since I read 'The Way of Kings' for the first time. He never lost his place in my heart, not even when other characters like Renarin and Jasnah were further developed as the books came out.

And the reason Kaladin has always been so dear to me is because I see so much of my own struggles on him.

When I first read 'The Way of Kings' I was in a very bad place. I had been struggling with depression and anxiety for a while and I was in that place where nothing seemed really enjoyable anymore. I had stopped watching shows, stopped writing and the few books I had been reading felt more like a chore than anything. I was just, like, going on with my life on autopilot.

And then there was Kaladin, struggling with his own demons; such a good, strong and honorable guy, fighting his own mind and feeling so empty sometimes that he couldn't move. Seeing no real purpose in anything, but still doing what he had to just because. In a way, I could see in Kaladin so much of what I was going through that I actually ached. He became my special character, then, and this never changed.

I love lots of characters in that series, I admire some others, but Kaladin? To me Kaladin is that kind of character that means so much to me that sometimes I feel as if he was a real person. He kept me company when I was in my lowest and I'm always gonna hold him dear.

[motsimages]

Since we are at reading for filth the literature of these books, let me tell you what I remember, because I have not really re-read them in decades. Also, I stopped at the 4th because I didn't find them that good once I actually grew up and read other type of books.

I was a child who read A LOT and while some things in these books were compelling, I hated that the first 1 to 5 chapters (if not more) were recaps from previous books and very often she would take the tangent to explain something we already learnt in another book as if it was new information. Like literally, she started every book retelling all the other books. Why though? If I am starting a series of books in book 4, and I don't get references, that's on me for starting the series in the half of it. One thing is mentioning something as a passing-by comment, but I remember skipping several chapters just so we got to this current book, and having to skip paragraphs later on because she would basically rewrite all the other books in every new book. My only theory is she was paid by the word so that's them words. Why her publisher didn't stop her from this is a mystery.

And regarding the old-school things you mention, I don't remember but maybe she is drawing from stereotypes in similar types of books from her childhood. Except her childhood was in the 70s and she was reading her parents' books.

Overall, I think they are better in your head than in reality, which is what many people remember, other than the movies. Like if, like me, you are not familiar with the "magical school" kind of books (and you are 12), it's original and innovative to a point.

So like, I have been having this weird experience analyzing the Harry Potter books lately, and please indulge me while I talk about J.K. Rowling's weird writing.

My goal was simple: read the Harry Potter books to find which parts were influenced/inspired by actual magic that people do in real life. My theory was that there was a lot more magic in the earlier drafts of the books, and that she took a lot out due to fear of backlash from America's ongoing reenactment of the Satanic Panic. For instance it's quite obvious some of their magic lessons got dumbed down so that very little of what's in the books could actually be tried in real life, and I think she took out a lot of astrology.

I also wanted to do a couple errands along the way, one of which was to check and see if it's explicitly written in the books that Harry is a cis man. I'm a trans man, SO I'D KNOW. (I'm a slow reader so all I can say for now is: the FIRST book does not explicitly state Harry is cis, but if he's trans, there's some implied worldbuilding with items like the Sorting Hat that comes into play. Also I'm fairly sure the Dursleys would have gone along with him being trans because that meant Petunia could reuse Dudley's old clothes instead of having to get girl stuff. I'mma save any other explanations on the topic for a video on it.) The reason I'm doing this read-through is because I think J.K. doesn't know anything about trans people and didn't think to make sure her wizard world was trans exclusionary. AND IT TURNS OUT THAT WE TRANS MAGIC USERS HAVE A WAY OF WIGGLING INTO MOST PLACES UNDETECTED BY NORMAL MEANS.

While I was doing the re-read I encountered two sort of broad revelations:

There's a lot of old stuff in there like Latin and Greek and tradcraft stuff, but also modern magic of the more recent era... but the incorporation of modern magic cuts off somewhere before the 80s. These books read like they were written by a early 70s magician. Like they honestly read like J.K. is a magical practicioner who just didn't read any magic books written after 1972 and never discovered what Chaos Magic is, (and also, never heard of most of what happened in the Cold War). I have never found a writer, in fiction or non-fiction, more dedicated to referencing magical stuff that most magicians alive today just don't care about anymore.

J.K. Rowling's knowledge of child abuse laws and general social mores regarding treatment of children also ceased to update itself by about the 80s. I keep getting distracted by this and having to make more side-notes about corporal punishment and researching stuff like when caning was banned in England. (HInt: it was banned before Harry went to school, so in Book 1 it's fuckin weird that he assumes that Wood is the name of a cane he's about to be whipped with.) Like, this woman raised children in the modern era, she should know when canes stopped being used.

So like, when I mention that I'm doing some research in this area, this is the sort of stuff I'm reading for and the sort of stuff I'm encountering. I haven't been talking much about this journey because it seems like any time anyone brings up anything Harry Potter up whatsoever, we've got to talk about how J.K. is a terf in every other sentence. But like, y'all: I hope you slow down and re-read the books, because J.K. Rowling is a terf who is also a child abuse apologist and normalizer. She is a terf who is also a horrible fat-shamer. She is a terf who is also an ableist with a huge problem writing about mental illness. And she's a terf who's also a sexist who undermines feminism with her actual writing of female characters.

And I honestly think she double and triples down on the terf stuff so that people will only talk about that. I think it's worth talking about the fact that not only is she an awful person in the terf way, but like, every other way imaginable too. I think it's worth talking about the fact that with all the obvious biases she has, the group she CHOOSES to publicly marginaiize is trans women, and I think she makes that choice because she thinks that she'll get more allies that way. That if she wore all of her issues on her sleeve like she wears the terfness, that she'd lose a lot of allies, that a lot of prestigious charities would stop having anything to do with her. That she uses the identity of "terf" as a shield because she knows that certain people will protect a terf, and she does this specifically so people won't notice how much of a sexist, abuse apologist, ableist, fatphobe etc she ALSO is. Opinions that could lose her a lot of money and clout if people remember them enough.

She's trying to pick on who she thinks is the most unpopular kid in the class out of the hopes that the bullies in class will be her friends instead of pile up on her, but if the bullies knew what she really thought of them, THEY wouldn't even be her friends.

Also like... I just want someone else to read the actual words in these books and see what fucked-up choices she made as a writer. I think a LOT of people remembering these books are actually remembering the movies, which are way more different from the books than you might expect.

[ayebibs]

What would have made the Veilguard companions more compelling?

I keep racking my brain trying to determine how the marketing of this game was so focused on the companions, their rich lives outside of the narrative, and the journeys that they go on when I think that they are objectively the worst written companions to date. Not to say that their appearances aren’t well designed or that they don’t have really fun and cute moments, but they are simply less three-dimensional than previous companions. Fundamentally, my biggest grievance with the Veilguard companions is that I just don’t find any of them nuanced or interesting. They are all good people, but they are not good or believable characters that fit this plot and interact with it in meaningful ways.

I have never been one of those people that ignore canon, but I have been perseverating on the missed potential of this highly anticipated game that we’ve waited ten years for. So, I wanted to criticize some of these characters and explore some changes that might’ve made for a more compelling group of characters had they been written differently, but (hopefully) respecting the vision of who the characters are at their core because I do think that the skeleton of something great is here.

Disclaimer because this is long and critical: There are a lot of spoilers below. I haven’t read all of the Dragon Age books and I could be missing things, but I also think that the game and the characters’ journeys should speak for themselves as we go through the story. I also get that these are just my opinions, I’m a STEM girlie by trade and a creative on the side! Not everything I suggest may be great or realistic for building a plot or realistic for writing the script of a videogame. I also don’t mind conversations about these characters! I think that would be fun, I just don’t want to be shat on for being very disappointed in this game when it’s been my favorite video game series for half my life and I went in very hyped and willing to excuse a lot!

Alright, if you’re still with me, buckle up!

First, before I outline the specific changes I would make to each character, I want to address that there are just flaws with the way BioWare decided to handle companions as a whole in this game. I want to mention them now because they impact nearly every character and I don’t become repetitive:

1. Most importantly, the approval system is pointless and probably could be left out of this game for all it means to the narrative. It is nearly impossible to wrack up disapproval for the companions and you increase approval and bond by just taking companions out and completing a quest. If the companions like nearly everything that Rook does, then it means that they don’t care enough about anything to have strong rigid opinions (which is good for a well-written character). If companions don’t have an opportunity for meaningful agreements or disagreements, it means that the writing is not what people expect of a Dragon Age game based on every single installment we’ve had so far. It is one of the few things that have stayed the same in all of the past games and one of the things that I think fans are really upset about and should have been nonnegotiable.

2. All of the factions (except for maybe the Grey Wardens) really just needed to be messier and more complicated. Not all of the factions were meant to be heroic throughout the series. As others have commented, the Lords of Fortune and the Antivan Crows are the most glaring examples of this. However, I think that the Mournwatch and Veiljumpers are not exempt from this either. The factions serve as crucial parts of our companion’s backstory and by sanitizing them, we are wiping key opportunities for character development. For example, it could be way more interesting to have a character who fundamentally disagrees with their faction, but doesn’t know how to escape it. Or, what about a character who loves their faction and makes us feel conflicted about them because of their willingness to explain away the faction’s history? I could write (another) essay on this, so I’ll leave this point here.

3. We simply needed to have more conversations with all of the companions. All we have are these short, uninteresting cutscenes to learn about the companions. The player should be able to go up to the companions and ask them about the history of their faction, who they trust and care about in their faction (and why), their past, and their opinions about new information (on other companions, side quests, and plot points). None of these even need a cutscene, just voice acting. It would also help players feel more connected to the companions.

4. There needed to be more visible personal and interpersonal conflict. The companions read like coworkers to me. They mostly like each other and, even if they do have disagreements, they are never explored in the narrative. They don’t seem to have any hugely conflicting viewpoints on any topic and, even if they do, they are benign. For example, what to pack for a camping trip or not wanting to talk about a particular topic (dragons vs. spirits) can be interesting in addition to more complex banter but the banter just feels inappropriate and irrelevant for the plot of this game. Overall, the companions rarely make a fit about anything. It feels like the writers didn’t want any character to appear problematic, but they made them flat because none of them seem to have a hill to die on except that they should save the world. This might have been fine in a game series that didn’t focus so heavily on companions and the way that ethics are shaped by personal experience, but this is not that imaginary game series.

5. The companion quests should have focused more on worldbuilding and getting to know the characters. I have little to say about this other than that the quests for Harding to try out her powers, training Assan with Davrin, shopping with Lucanis, and lighting candles with Emmrich, etc. were lazy, uncreative filler. I really cannot put it any other way. They should have all had quests that better explored their faction and, by extension, them. We barely learn anything in those quests and they are time wasters. Those are the scenes that should have been converted to a codex entry, not some of the important lore drops that we currently have in the codex.

6. Rook chooses one option of a binary for every companion towards the end of their personal quests. I’m okay with some of these, I think that it made sense for Bellara and Davrin to ask Rook what to do in their personal quests because it felt more natural. A friend asking a friend for their input. On the other hand, some of these are really inconsequential, semantic, and mindset related (Neve) and others are such personal choices that it feels inappropriate for Rook to be involved (Emmrich and Lucanis). In a lot of these cases, it would have made more sense to have dialogue options sprinkled throughout the game that influenced companions to make their ultimate choices. Giving Rook so much power in these decisions makes the companions feel one-dimensional because it strips them of agency that any believable character would want. Even if they wanted Rook to make these decisions, companions should have felt more strongly towards the options and either praised or disparaged Rook for their decision.

7. Finally, I found all of the romances very lackluster. I was never someone who considered Dragon Age games glorified dating sims (I actually really don’t like that take, even if it's all jokes), but I found myself missing the depth of relationships in previous games. All the relationships felt too new and shallow. Largely, I think this is due to points 3 and 4, but also due to a lack of reactivity with your companions. For example, companions barely acknowledge you getting them a gift or flirting. This could have also been helped by a few extra cutscenes with the companions.

That mostly covers the overarching issues that apply to all characters. Some of these things might come back in my individual discussions of the characters if it is particularly bad.

If you’re still with me, here are my thoughts on each companion and/or what I think would have made them more interesting:

Bellara

I came to like Bellara much more than I anticipated from the trailers and marketing. However, she is really emblematic of how the writers didn’t want problematic characters. There is nothing in the game that would cause people to accuse her of being problematic, but despite being an elf (a historically oppressed and enslaved group), she is so quick to apologize for the actions of ancient elves who oppressed her ancestors thousands of years ago which is ridiculous and solves nothing. It also really seems like the writers wanted her flaw or quirkiness to be some kind of neurodivergence and nerdiness and that alone doesn’t make a compelling character. I actually think it would be interesting if Bellara was, if not pro-Solas, pro-hearing him out because his intentions were in the interest of the elven people even though he made some shitty decisions. I think she would want to be interested in what Solas knew about the ancient elves and what their society looked like before the Veil. I think she’d want to know as much as she could about the technology. I think it would be interesting if she guiltily admitted to wondering what the world would look like if the Veil came down. How different would it really be to what they’re already experiencing? Could they not mitigate the problems? I think this would be an excellent point of tension between Bellara and Davrin (who is Dalish but might not understand her curiosity in the face of the blight) or Harding (whose people were so impacted by Solas and Mythal’s actions… more on Harding later).

Davrin

Davrin is actually my favorite companions in this game, but I still wanted more from him. I think it would be really interesting if, when the team is gathered around after Weisshaupt that Davrin really pushed back against the idea of sorting out their personal shit before progressing. He’s a grey warden who, in his estimation, just failed his one purpose. I think that this would cause a bit of tension between him and some other characters, like maybe Taash whose concerns are more personal than anyone else's at the time. He is serious and straightforward, so I don’t think it’d be out of character and it would make their friendship and training montage more satisfying later on if they had to move on from it. I would also expand on the fact that he was disappointed to not die when he killed one of the archdemons? It was touched on so briefly and he seems to emotionally resolve it in a few dialogue lines which I think is crazy, even considering that he wants to live to save the griffons and raise Assan. A “blow up” about how the team needs to put their personal affairs aside while struggling to keep his own personal affairs together would introduce a little more depth to his plot line and expand on one of the more interesting things about him that we barely got any time with.

Harding

Harding was one of the most boring characters to me in this game because she felt so flat and there were so many ways to make her more interesting. Her character isn’t helped by the Varric twist because the narrative requires that she doesn’t grieve except for one scene despite knowing Varric for at least a decade. Personally, I think that changing her reaction if/when she finds out what Solas and Mythal did to the Titans and her people would make her more well-rounded and believable. From that point on, Harding should be anti-Solas and you should lose approval with her every time you entertain the idea of trusting him. Maybe she could even express disappointment/frustration/sadness for an Inquisitor who believes Solas can be saved or speak of them more highly if they think that he is irredeemable. Also, we should’ve spent more time with her and the dwarven people. I think Veilguard was such a rushed and half-baked attempt at wrapping up that storyline. We learned so much about the dwarves in the last two games and we get to spend so little time with them.

Taash

Interestingly, I think Taash is one of the few companions with really obvious flaws. They are childish and impatient, but they’re poorly written and their flaws are never acknowledged or treated as flaws by the narrative. In my playthrough, their relationship with Harding might have been an interesting place to explore and address that childishness. It was also a missed opportunity for them to explore Qunari and Rivaini culture. As other people have commented, the binary choice between being Rivaini or Qunari is odd in tandem with Taash’s journey of self-discovery and identity. I think that choice shouldn’t exist and should be encouraged by dialogue options peppered throughout their larger quest. We were so close to exploring the rift that can form in families between first generation children and immigrant parents (and learning more about Rivain and the Qun by extension) when there is love but a fundamental difference in culture and lived experience. Instead, I feel like the narrative never gave us a chance to really hear Shathann out before her death, but I’ll give the writers a break because I think that they were going for tragedy and unresolved conflict and I don't know if I trust them to make that a conversation that fits the world and isn't anachronistic.

Emmrich

The thing that bothered me most about the Emmrich storyline was the final choice between Emmrich becoming a lich and bringing back Manfred. This is another choice that Rook should have influenced rather than choose outright. The number of times that you asked probing questions or commented on Emmrich’s desire to become a lich through more conversations about Emmrich’s fear of death and relationship with Manfred should have determined his final decision. Personally, it felt inappropriate for Rook to make that decision directly for him, no matter how much the game tried to justify it. I would have also liked to see his fear of death impact him more throughout his quest line and the narrative. The final quests are literally a suicide mission and he should have had more dialogue regarding it.

Neve

I’m going to admit that Neve was hardened in my playthrough and I haven’t explored her character in playthroughs where you save Dock Town, so this section might not be applicable to half of you. I didn’t understand a lot of Neve’s motivation behind her actions. I didn’t understand why she felt so passionately about her city or her jobs. Her drive felt hollow to me, making her personal quests feel generic. When I got to Neve’s quest where we gathered clues near the water in Dock Town, I was excited to finally learn anything about her, but it was devoid of any meaningful backstory. I would have written the quest to better explore Neve’s past, motivations, and personal relationships. The other big thing that stands out is that Neve is a noir detective and the VA has clearly gotten direction to sound like one, but her story is so devoid of mystery, intrigue, and many of themes that would make that more than aesthetic. And, like, isn’t her whole faction about freeing slaves? Why not make her personal quest more closely tied to that?

Lucanis

Lucanis’ personal quests are so tied to the dynamics of his faction, so I think a lot could have been solved by making the Crows more morally grey. I think Teia and Viago could have stayed the same, but we should have seen more negative interactions between him and the rest of the Crows. Outside of Illario, Catarina would have been an exceptional vessel to explore the problems within the Crows and a theme like generational trauma or exploitation. The party banter between him and Davrin criticizing each other's factions could have been an excellent space to talk about the negative aspects of the Crows and how Lucanis’ feels about them, either defend some misdeeds or express how he feels conflicted about his past contracts. In my game (when you save Treviso), Spite also felt more like a mildly important accessory in Lucanis’ plot than a significant problem. Few characters had anything significant to say about Spite and he caused few problems. I actually thought Spite was fun for most of the game, but he needed to be more problematic because he gave the impression that he was included more to build an aesthetic for Lucanis than a character-defining plot point. Finally, I think Rook deciding what to do with Illario was a poor decision. I would have written this as a decision Lucanis makes on his own based on how Rook encourages him to deal with Spite through a more fleshed out character arc.

This pretty much summarizes my thoughts on all of the companions. As you can tell, I am very Normal about this game.

I wanted to like these characters so much and they have an unbelievable amount of potential. They are all so fascinating in concept and all of them are poorly executed either due to the relationship building mechanics of the game, because of the writing and dialogue, or a mixture of both. That said, there are brief moments when I like them and I get glimpses of what they could’ve been.

I just hope the characters are better explored in future games (if we get one).

[bcacstuff]

The clock may be ticking for Outlander on TV, but the story is everlasting for bestselling author Diana Gabaldon, who writes the historical fantasy books (nine and counting!) upon which the show is based. Debuting in 1991, the first Outlander novel has spawned several sequels, spinoff novellas, and ultimately the intense Starz drama that viewers have come to love. With the final episodes on the horizon and new prequel series Blood of My Blood forthcoming, Gabaldon reflects on the show’s end and offers a peek inside her notebook.

What have you been happy to see so far in Season 7?

Diana Gabaldon: One of the things the Outlander production as a whole does really well is battle scenes. We’ve had a certain amount of the [American Revolution’s] Battle of Ticonderoga, the first Battle of Saratoga, and a lot of the second Battle of Saratoga. And I absolutely loved the actor playing Benedict Arnold, Rod Hallett. The casting this season has been spectacular. Every character is just right.

Would you say that Benedict Arnold was the character you were most excited for fans to meet this season?

He is historically fascinating, and I did a lot of research work on him because he plays a large part in more than one of the books. And we’ll see him again in Book 10. His story is very interesting. Everybody knows how his story ends, or at least they think they do. But yes, I was just impressed that, between the script and the actor, they pretty much nailed him and captured his sense of reckless adventure and his charm. Luckily, they used a lot of the book dialogue for it, some of which was taken from things that Benedict Arnold himself said.

With the show set to conclude with Season 8, do you have an ending in mind for Claire and Jamie’s story on the page?

Yes, I have shared the ending scenes with [the creative team]. But as to the actual way the story comes to a conclusion? No, they don’t know that. [Laughs] But we’ll get there. I don’t write in a straight line, and I don’t work with an outline. This is why it takes me several years to write one book — not only the way that I write, which I describe as like playing Tetris in my head, but also just the sheer size and the fact that they are books of a continuing nature.

You’ve shared a few excerpts from your 10th novel in the series. Is there anything else you can tease about it?

Well, I’m still writing it. And I have a title, but I’m not revealing that until we’re a bit closer to publication. I don’t want to rub all the “new” off it. I can tell you that it’s got whales.

You’ve also written Season 2’s “Vengeance Is Mine,” “Journeycake” in Season 5, and the upcoming 14th installment in Season 7. Can we anticipate more scripts from you?

Yeah, it’s so much easier than writing novels. [Laughs] It takes me three weeks tops to write a scene. I will be writing a script for the prequel [Blood of My Blood] and one for Season 8 [of Outlander].

Though only one season has been given the green light, how long do you envision the prequel’s story to be onscreen?

Well, the television version isn’t up to me, but for what it’s worth, I have material for three —  relatively short, as compared to the main Outlander novels — prequel books concerning Jamie’s parents. Blood of My Blood is based on the synopsis of the first of those books.

Apart from the ones you’ve written, are there any episodes you love so much that you wish you had?

Oh, yeah. There’s always at least one per season where I’m thinking, “Oh, this is fabulous.” It would be [Episode 8, “Turning Points”] for Season 7.

Do you have a favorite memory from your times visiting the set?

It would probably be the first season where they invited me to do a cameo [as Iona MacTavish] in Episode 4. It was fascinating being part of the set rather than visiting it. I was a cast member for three days. It was just interesting to see how it all worked.

Were you able to make it to set for Season 8?

God willing, I will be on set for a week or so next month [September 2024]. They’ll be filming the final block, for which I wrote one of the scripts, so I’d like to see a bit of it live. The last time I was on set for a prolonged period — as opposed to drop-in visits — was for Season 2’s “Vengeance Is Mine.” The food from craft services was always excellent, so I’m hoping to have a toastie, and I’m looking forward to seeing good friends.

How have the main cast’s performances surpassed what you envisioned on the page?

Sam Heughan does a fantastic job with Jamie, and Caitríona [Balfe], while she doesn’t look like the Claire of the books, certainly acts like her and is totally immersive in her character. I’ve [never] seen a bad performance by anyone at any level.

What will you miss most about the show?

I’ll miss the entertainment value of seeing dailies five nights a week, but otherwise, I’m not troubled. The end of a great adventure is always a bit traumatic and nostalgic — but it does leave you with a feeling of specialness, accomplishment, of having been part of a great endeavor. And they do live in my head, you know…

Are there more stories in this universe that you still wish to explore?

There’s always more I could write. Making the optimistic assumption that I’m going to live long enough, I have notes for [time traveler] Master Ray-Mond’s book (no title on that one yet) and for another [about Claire’s first husband, Frank], titled What Frank Knew.

Will you feel sad saying goodbye to Jamie and Claire?

I really don’t think I will — the main books are written with a lot of lacunae — spaces where we move from one block of story to another, leaving a hiatus of months (or sometimes years) in someone’s life. I can, should I want to, always go back to one of those places and write what happened while everyone was looking somewhere else.

Outlander, Season 7B, Fridays, 8/7c, Starz (Midnight on the Starz App and On Demand)

This is an excerpt from TV Guide Magazine’s Outlander: Claire & Jamie’s Love Story For The Ages issue. For a deep-dive into the historical romance, scoop on the second half of Season 7, and details on the upcoming prequel, pick up a copy of the issue available on newsstands and for order online at Outlander2024.com.

Article posted 29 November 2024

[annawayne]

Hi, Anna! I was wondering for some small opinion and possibly suggestions to do with AruAni, mainly their names! In my opinion, I like to imagine Annie's name is actually "Annabelle", though she's never said it to anyone, ever, having the name everyone is more used to be the one that everyone calls her. Though, it would be fun if she slipped up and then have Armin, the adorable nuisance he is, start calling her Anaya, Arianna, etc - as he tries figuring out her full name. Bit silly, but fun stuff! And I was wondering, if you ever had thought of that, or the possibility of them having middle names, since I don't believe many have spoken about that and you're very creative when it comes to that! Have a lovely day, Toodle-oo!

Hello-hello!~

Oh, thank you a lot for asking this! I'm a huge fan of the whole name topic in general, and I think it's a significant topic for such characters as Armin and Annie. I can tell that I'll touch on this topic a bit in the next MYLYSW chapter with my attempts to explore Annie's past in Liberio, so you just HIT ✨the spot✨

I adore the exploration of all of it, so let's begin!

First of all, I want to say that despite everything, I really love the way both Annie Leonhardt and Armin Arlert sound: Annie's full name sounds, first, like a sigh, with the double ringing 'n,' only to flow into quite firm combinations of sounds, with the same respite right in the middle; Armin's name gives me a very metallic sound with a harsh and resonating tune.

I really love how their names sing, and we can explore many of their meanings. However, I want to focus more on the origins - not the meaning and roots of their names, but how they were given and what they meant for them.

We know that Armin's name is given by his grandfather. However, it's also quite an interesting moment for me since parents usually give the name to a child, and his parents disappeared much later when Armin wasn't a newborn. Probably, it's more like Grandpa Arlert was there from the very early time of Armin's childhood, and so he has this honor to give a name for his grandson (we skip here a theory that Armin was an unwanted child who was more of an "accident" rather a desired and planned child, who "stole" from his parents their dreams to fly away - it's a big topic and theory, and I would love to focus on other aspects this time since otherwise it would lead into long essay).

So, Armin, despite losing all his family at a very young age, has a personal connection to his name - he knows that this name wasn't an "accident" or "casually thrown" into him like a label. This name has old Germanic, Latin, and Persian roots, "a Warrior," "a Fighter," and also "goal" and "universal," which all fall into Armin's life path - he fights for the right to appreciate the whole world, even if it's not the one he has read in his book. However, with time, I think he starts to hate this name as his self-hatred grows as well, associating this combination of letters with the downfall and problems (in his opinion) he has caused since often his name was screamed in anguish and fear, or despair. Still, Armin, despite anything, knows his real name, which he learns to embrace and live up to. He knows this name is given with the love and warmth of his grandpa.

But what about Annie? We know that she was found by Mr Leonhardt on the street near the rich-looking mansion and that she has a biological Marleayn mother and Eldian father. Then, she was adopted by Mr Leonhardt (it's also interesting that we don't have any name for him throughout the whole series, which also gives me several ideas, but it's also for another time). Probably, Mr Leonhardt gave her this name by the logic "it sounds simple and doesn't show any relation to her possible noble blood by mother's line", which gives me an actual idea, based on your ask: what if Annie's name, given by her biological parents, was indeed something like Annabelle, Annette or Annalise (or any other form), which sounds more like "noble," rather than Annie, which directly shows her relation to some high-class Marleyan society?

We have not to forget that Marley - is an empire. Any empire does everything to erase any relations to the authentic roots of the people it colonized, and changing names/surnames - is one of these very well-known practices, since when you took the name from a person, you also took the part of their identity and ethnical background to make the person "fit" within the empire as their own, and yet, this is only to play a role of "generosity," when in reality people from colonized territories always won't be equal - the citizens of any metropole look down at them.

I think this happened to Mr. Leonhardt, who in reality isn't Mr. Leonhardt at all but was given this very Germanic surname, which aligns pretty much well with Marleyan traditions. So, the same might probably happen to Annie - maybe when he found her, there was a small card or note with her full name, but when he read "Annabelle/ Annette/Annalise" (or anything similar), he decided that with this name she wouldn't survive in the internment zone with such "noble" name, and simplified it to "Annie," both as an act of erasing any roots for her to start questioning her background and also of an act of owning - just like the empire did to him when he was shipped to internment zone. Just like Edward Said in one of his works, "There is nothing mysterious or natural about authority. It is formed, irradiated, disseminated; it is instrumental, it is persuasive; it has status; it establishes canons of taste and value; it is virtually indistinguishable from certain ideas it dignifies as true and from traditions, perceptions, and judgments it forms, transmits, reproduces."

There's really nothing mysterious. A plain act of cutting the roots, replacing it with himself - no wonder that Annie, on the day of her departure to Paradis, felt such a strong connection with the words her father said to her. It was not only a first showcase of care and love (which I highly doubt of its genuinity, and I don't think any of these words were towards Annie, but only to whitewash his ego), but also the attempt to keep her in his claws - like any empire does to its colonies by erasing everything and replacing with what is comfortable and needed for it to make it looks like the colony is incapable of living without it. I honestly have no questions why for Annie it was all her sole goal - to return to him. I swear, I will always defend Annie and try to highlight the whole complexity of her character.

So, I think, if it really happened at some point in history, then, after the Rumbling, when everything settles down a bit, Mr . Leonhardt confesses that Annie's full name is different (personally, if you would ask me, I really love Annette). For her, it's a huge shock because she realizes where it comes from.

I think it becomes a pretty sensitive topic for her - she would immediately dismiss it, however, she would understand with time passing that this name is hers and isn't hers at the same time since she has no association, no history with it, no attachments, and it also provokes some inner conflict she tries to ignore.

But Armin would notice, and eventually, she would tell him, however, it takes a long time, firstly, for Annie to embrace it as a part of her she has never known, but it's the only thing her parents left for her, aside her birth, and even longer - for Annie accepting it as an alternative - not a replacement - to her name.

I think Armin would be cautious with this, and the first time he calls Annie "Nettie", she would be a bit in shock - but more of the fact that this part of her is also loved and embraced by him. It would never replace Annie from his lips, the way she knows how he sighs it and how his tongue pushes this double "n" in her name only to string it with the mellow tune of "e," but she thinks that "Nettie" also deserves some love - the one Annette never had, denied almost immediately after her birth, but, maybe with him, Annette could learn it, too.

As for the middle names, I'm familiar with them, of course, but this concept is so rare in my country that this whole thing just doesn't appear too much in my head. But we instead have patronyms, and I also thought of all of it, and it just makes me quite sad since if Armin and Annie had patronyms tradition, it would remind them so much of their fathers... Who, well, let's be honest, both left quite a lot of angst in their lives, even if in different ways.

Oh, well... maybe you expected another answer and a more fluffy one, but sorry, I went into the angsty depths of some meta and headcanons :D

If anyone reached the end, thank you so much! I appreciate your time spent on it!

Thank you once again for asking, I enjoyed answering it a lot!

Have a wonderful *timezone* (⁠◍⁠•⁠ᴗ⁠•⁠◍⁠)

[withwritersblock]

Oh! Darling pt. 5

~Oh! Darling by The Beatles~

Author's Note: somewhat requested lol! I was rewatching the Faceoff series and reminded myself that someone asked for something like this so here you go! Anyways, hopefully more for this series coming up. Summary: Quinn's Faceoff episode Warnings: Canucks losing against Edmonton lol Word Count: 1,630 Quinn Hughes x fm!reader

It completely slipped his mind that he had agreed to film for the Face Off series until he started seeing the advertisements for it everywhere. Now, himself and his girlfriend were sitting together and watching it together. Ellie was in his lap, drinking a bottle. 

They already watched the first few episodes of the series and he was shocked on how it actually ended up looking. The series was actually entertaining. But now it was his episodes and he was terrified. He agreed to do it because they begged him to do it. His story was special because he was a young captain and a new dad.

“Do you want anything to drink?” she asked as she stood up from the couch, jogging towards the kitchen. He glanced down towards the little girl in his arms before he looked back towards Y/N. 

“Water’s fine, love,” he muttered as he looked into his daughter’s sleepy eyes as she continued to finish the bottle. “I’m pressing play,” he let out as he reached toward the remote. 

“Wait!” she called out as she took a hold of a soda and a water bottle. He chuckled as he pressed play anyway. “Hey!” she let out while laughing as she jogged towards the couch. Cautiously, she placed the bottle of water beside him and she kept her soda in her hand. He chuckled as he pulled the bottle from Ellie’s mouth. He brought her up and began to delicately pat her back. 

Instantly, once he saw himself on the screen, his face scrunched up. “Oh god,” he muttered.

Y/N grinned widely as she saw him on the screen, “Oh stop, look how cute you are,” she said as she inched towards him. Delicately, she tapped her hand against the top of his thigh. 

On the screen, he started cooking and talking about his journey of being captain. “Probably read 20 to 25 books this year because I felt at the start of the year that with becoming captain, it was a lot for me-” he explained on the screen. Y/N lips fell into a pout. 

Saying that it was a lot for him was an understandment. He was overwhelmed from the moment he was given the C. He came home that morning after the conversation with Rick and told her that he was becoming captain. At first, it was exciting and he was confident that he could do a good job. But as the preseason went on, he was shy and nervous. But as he explained in the episode, he started to grow into it. 

“What was it like having this new role on the team and this new role in life?” the interviewer asked. Quinn tossed his head back and laughed. 

“Definitely been a hard year but I wouldn’t change a single thing about it,” he explained before running his fingers through his hair. “It was really difficult because it was hard being away from my girlfriend; because obviously pregnancy is really hard but she was great,” he explained.

The screen started showing clips of Quinn and newborn Ellie. Y/N was sitting on the couch beside Ellen as quinn was holding Ellie against his chest. She was only a few weeks old when the camera crew was there. 

“Your daughter was born a month before the playoffs, what was that like?” the interviewer continued. 

Quinn smiled softly on the screen, his eyes lighting up in the process. “When we found out about Ellie, we realized pretty quickly that the timing wasn’t great. But our families were in town for the first few weeks. So while I was away on a roadie our families were here and supporting Y/N,” he took in a deep breath. 

“You would’ve had no idea Quinn was a new dad. He was still Quinn Hughes and he was still a huge presence on and off the ice,” Rick said on the screen, a chuckle falling from his lips. “He wanted to talk about his daughter all of the time but you could tell that if he did, it would break his heart a little bit,” he explained.

Quinn clenched his jaw as he shifted his gaze down towards his daughter. Y/N pouted her lips as she reached her hand over and ran her fingers through his hair.

“But that’s why we chose him as captain. He can seperate his personal life from being on the ice. He doesn’t let it effect what he does and that’s what you need from a captain. But you know that even if he didn’t let it effect him, he was constantly thinking about his girls,” Rick continued. 

Quinn smiled softly as he continued running his hand across Ellie’s back. “Can we move on to Trouba or something,” Quinn mumbled as he looked towards Y/N.

The screen continued to show a smiley Quinn in the locker room and then back to him in his apartment with Y/N and Ellie. It stayed on that moment for a few seconds before it shifted to Trouba in New York. 

“Let me see her,” Y/N muttered. Quinn nodded as he lifted Ellie from his chest and cautiously handed her over to Y/N. Quinn shifted his body to the side as he scanned Y/N’s features. “Did you know Rick said those things?” she asked, meeting his eye.

Pursing his lips forward, he shook his head slightly. He leaned towards her, delicately kissing her. “Didn’t really talk about it,” he said with a shrug. She nodded as Ellie’s eyes were starting to get heavy in her arms. 

“Pause it, I’m gonna put her down for her nap,” she said while standing up. He nodded as he reached beside him for the remote. He paused it as he watched her walk down the hall with Ellie in her arms. 

He pulled his phone from his pocket to see a text from Jack asking if he watched the episode yet. He replied that he was working on it. 

Ellie was always a fast sleeper so it only took a handful of minutes for her to fall asleep. Y/N returned to the living room, a grin on her lips. “Okay, press play,” she said as she sat down on the couch beside Quinn. He reached over and delicately rested his hand onto her furthest thigh. He ran his thumb across her thigh, she could barely feel it through the sweatpants fabric.

He pressed play and Trouba’s section started, showing off othe game that got them the President’s Trophy. Y/N leaned her head against his shoulder as they continued to relive the end of the season together. After a few more minutes of Jacob and Gabe’s segments it returned to Quinn.

Quinn was in Nashville with his parents for the first two games of the playoffs. 

“What was it like when Quinn told you guys he was having a baby?” one of the producers asked them as they were sitting in a coffee shop. Quinn smiled as he looked towards his mom. Her eyes lit up and so did his dad. 

“They called us on Facetime and Quinn just blurted it out like he was in trouble or something,” she said while laughing. Y/N looked towards Quinn and he shook his head while laughing.

“Telling news like that over the phone, kinda felt like I was,” Quinn joked out before they cut away to a clip of the Canucks and Predators series. 

After several more minutes, it cut towards the series against Edmonton. The high paced play and the comeback they tried to make in game seven. Quinn took in a sudden breath as he watched the plays and heard himself talk on the ice. He always dissociates during the game to the point he never really remembers what he says or how the plays develop. 

It panned toward the audience with Ellen, Jack, and Y/N watching the game. Her WAG jacket covering her frame, that she helped design. Jack’s arm was in a sling but he was leaning forward watching the game intensely. Ellen was emotionless as she shook her head slightly.

It showed the ending of the match, the celebrations by the Oilers and the sadness of the Canucks. Despite everything, Quinn still led the team in a salute to the crowd. She ran her hand across his upper back. 

“It obviously didn’t end like how we wanted it to but it was good experience for many of us. This is the first playoff run for a lot of us, so now we have a lot of things to use a stepping stones,” he explained in the interview. 

“Anything you would change?” the interviewer asked, nearly cringing at the question once she read it from the card.

“To win-” he said jokingly, “No, I mean-it’s been a tough year. Obviously, I am glad that I get to be home with my daughter for the next few months and not having to have the game on my mind for a few months. It would’ve been awesome to keep going, keep playing but uhm-I guess a good constellation price was getting time with my girlfriend and our daughter,” he explained, smiling softly as he looked into the camera for the last time in the episode. 

Y/N lips fell into a pout as she lifted her head to look towards Quinn. “I’m such a sap,” he let out. She chuckled as she leaned towards him, kissing his cheek delicately.

“That was really cute,” she whispered as he tilted his head to the side to meet her gaze. “Such a good captain,” she dragged her thumb across his jawline.

“Shush, you,” he whispered before he leaned towards her, kissing her softly.

[lestcat-de-lioncourt]

how do you think they are going to go about the story telling for tvl

i know it won’t be a wwdits style but it is a funny thought

I am curious myself. It's brought surprise and wonder, and parts which capture it well already, but also what I wouldn't have thought.

I think at least season 3 will be dramatic, or Lestat will be tired of some things Louis has to say, as Louis has lied, embellished, or totally misremembered aspects of their time together, but similarly, this will happen even if different parties who exit a relationship believe that they're telling the truth, so it'll be good to see where they take Lestats perspective.

I think there will be some inclusion of Nicolas de Lenfent, how Lestat ended up in Paris, and there's teasers, musical tracks, and talk already of his music career. The inspiration for his music is partly a surprise, not what I'd expect, but it also makes sense. They may have changed this/will change it with filming, though.

Magnus. I'd say they'd include him. He is a difficult character for me, but I hope they tell the injustice that was faced, rather than how he was painted too nice in the QOTD movie, not to mention replacing him with Marius (or pretending he didn't exist at all amd it didn't happen to Lestat) however much I loved the movie.

This one I expect we will finally see more about the reality of Lestat, rather than through Louis' adoring and hatefully complex perspective.

In the past, we've not had much book to media, about that, not deeply, and not a way a movie can really intricately capture some complex stories, which is why I support the development of book series being made into a TV series opposed to one movie at a time. There's too much to these, and even if the series is an adaption, I believe it's capturing the essence well in a variety of ways.

Lestat is complex, he's problematic, he's experienced trauma, and living as a queer man in a place that was old fashioned, and as time draws on that will be not as hard, being out won't be, with The Vampire Lestat I don't know if they will delve into that but I feel we will certainly see some of it, the creation of him, his side which could be lies, or could be the truth, or simply, his perspective.

From the teaser, he already looks tired and fed up, having to sift through what Louis has to say.

There's a lot they can do, to say the least. I'm not disappointed so far, I know there are many who are, but that's just me. I don't mind that it's not wholly accurate to the book, and they haven't stated any falsified information that it would be exactly the same either.

I'm thinking Armand will be in it, flickering around the timelines.

I'm hoping to see a role given to Lestats mother, Gabrielle. It would be nice to see her finally shedding the feminine clothes and roles she never liked it the first place, and seeing her free within vampirism. It works for some! Haha. I don't know if they will, though.

Either way, I can't wait. I expect surprises.

[arecaceae175]

So I know your autistic Wild (my beloved) has Brenda and Brenda the second for soft friends, does he have any other soft friends?

Do you have any autistic or other neruodivergent head canons for the other Links? (Even if it's just what kinds of things you think they might have for special interests)

OOOOOO wonderful questions!!!!! Authenticity Wild my beloved

He has SO MANY soft friends. I also imagine Flora has a lot too, especially ones with scented things inside- they help her feel grounded when she dissociates or is remembering things related to the Calamity. Their beds in their house (separate beds in the same room on the loft) and their couch are just filled with soft friends. None are as special as the Brenda’s, of course.

I think each culture throughout Hyrule would have a different kind of most common toy and most common stuffed toy. Once everyone figured out how much Wild loves soft friends, they always gifted him one when he helped out the town. Wild loves this so much. The first time it happened he cried from overwhelming emotions of happy and grateful and feeling loved and appreciated.

Other link stuff below :D

I definitely like to imagine all of the Links as neurodivergent. When I have them rotating in my head I like to give them different diagnoses to ✨spice things up✨ and get more diversity in there. Here are the ones I usually give to each Link:

Sky: autism, dyspraxia, dysgraphia, dyslexia

^there is a series I follow of Sky with epilepsy, and I also really love that headcanon

Time: autism, Tourette’s syndrome

Twilight: depression and anxiety disorders

Wind: Down syndrome

Alternatively for Wind: FASD

Wild: autism

Hyrule: ADHD, CPTSD

Four: synesthesia, OCD, sometimes DID

Legend: borderline personality disorder

Warriors: PTSD, anxiety disorder

When I have them as all autistic, here are what I imagine their special interests are:

Time: masks (as a child, not so much anymore), cows, had memorized every dad joke to ever exist

Sky: bugs and birds :). In Skyloft birds was mainly just Loftwings, but then when he discovered all the birds on the surface it became all birds. He single-handedly catalogues and describes all the surface birds.

Warriors: battle strategizing, sewing

Wind: sailing, pirates, also characters from a storybook his Grandma used to read to him and Ayrll every single night (at Wind's insistence)

Wild: cooking, horses, cataloguing plants in the sheikah slate

Legend: magical items, jewelry (jewelry with magical properties are the COOLEST SHIT)

Hyrule: biology/anatomy, and there's a series of books they once found in an abandoned town that they LOVE. Books are hard to come by in their era so those are their absolute most prized possession

Twilight: goats, wolves. He knows every. Single. Fact.

Four: clocks, tools. Four wants collect every tool in existence, and wants to know exactly what it does. Especially blacksmithing tools, bc Four also really likes blacksmithing

[larluce]

Thanks @ramblings-of-a-chaotic-neutral for tagging me! ❤️

1. How many works do you have on AO3?

Only 4, of which two are still incomplete! And one of which I'm co-writer.

2. What’s your total AO3 word count?

63.373, without counting the one I'm co-writer, since technically @tansyuduri wrote it (go read her work too it's amazing!)

3. What fandoms do you write for?

Just Merlin, I don't think I'm going to write for more fandoms soon. I admire the ones who write for more than one fandom. I can barely keep up with one!

4. What are your top 5 fics by kudos?

Well, as I said, I only have four:

Saving the Dragonlord's Son | 600 Kudos (first book of the Series "The Dragonlord's son", completed)

Protecting the Dragonlord's Son | 311 Kudos (second book of the Series "The Dragonlord's son", still on going)

Merlin, Enchanted | 241 Kudos (co-writer with @tansyuduri , completed)

From the Grave to the Cradle | 168 Kudos (another time travel AU I left on hold, but I do plan to continue)

5. Do you respond to comments?

Yes, but I mostly do it when I'm about to update, and I take a while to do so with my works in AO3, so I also take I while to respond too. But I do read all the comments. They make me so happy!😄

6. What is the fic you wrote with the angstiest ending?

Well, most of my works are still unfinished so... But I would say "From the Grave to the Cradle" is the angstiest one there.

7. What’s the fic you wrote with the happiest ending?

Oh, "Merlin, Enchanted" has a happy ending (after making you suffer), but I don't know if it counts since the credit there is not only because I was co-writer. If it doesn't, then it would be "Saving the Dragonlord's Son" though is just the first book of a series.

8. Do you get hate on fics?

No. Everyone has been veri nice so far.

9. Do you write smut? If so, what kind?

Not yet, but I do plan to two of my stories to have smut at some point. I hope I'm decent at it.

10. Do you write crossovers? What’s the craziest one you’ve written?

No, I've never written a crossover.

11. Have you ever had a fic stolen?

No, as far as I know.

12. Have you ever had a fic translated?

I translated two of my fics myself to spanish, since that's my first language really.

13. Have you ever co-written a fic before?

With @tansyuduri so far.

14. What’s your all time favourite ship?

Merthur! And it'll probably be for a long time. The fandom never dies!

15. What’s a WIP you want to finish but doubt you ever will?

Not that I think I never will, but I think it's the one that will be more difficult to finish, is "From the Grave to the Cradle". It's a time travel Au where Merlin from the future kidnaps baby Arthur and gives him to an old farmer couple in Ealdor to raise as their own. I have a lot of drafts of it of random moments, but in script format.

16. What are your writing strengths?

Well, a friend of mine told me I'm good at writing in third person and another that I know how to reflect the character's iner thoughts and emotions. I also have good ideas, I guess.

17. What are your writing weaknesses?

Just as @ramblings-of-a-chaotic-neutral, procrastination 😅. Mostly because writing in fic format in english is not easy for me, I tend to demand too much from myself. That's what I rather write in script format in tumblr.

18. Thoughts on writing dialogue in another language in fic?

Besides my translated fics to spanish, using Old english every time Merlin uses a spell is quite fun. MerlinOldEnglishTranslator helps a lots.

19. First fandom you wrote for?

It was actually "Aristemo", a gay ship from a mexican telenovela, but I did it in Wattpad.

20. Favorite fic you’ve written?

Technically is not a fic since is not in AO3, but my "Arthur and Merlin travel back in time without knowing the other is from the future too AU" that I have in tumblr.

I tag @tansyuduri , @theroundbartable , @rubinaitoart

Twenty Questions for Fanfic Writers

Thank you @liviapeleia for the asks <3!!

Tagging longtime frond @breadkween, fabulous runner of @merlinmicrofic @queerofthedagger (thank you!) and reader and writer who's left me lovely comments @achillesuwu. @mythandmagic, Ao3 is down rn so I can't check but if you have any fics yourself, here's an ask game for you! There's no obligation, presh or time limit of course! Also like @liviapeleia said before me, consider yourself tagged if you see this!

1. How many works do you have on AO3?

11

2. What’s your total AO3 word count?

265,960

3. What fandoms do you write for?

Right now just Merlin. I've written for other fandoms in the past but each of those works have been standalone.

4. What are your top 5 fics by kudos?

Always His Destiny | Merlin | A true love's kiss, resurrection and golden age AU written for Glompfest 2024.

Like Every Tree Stands On Its Own | Merlin | A longfic inspired by other Arthurian media/sources featuring Wildman Prophet!Merlin and a magical forest. This is my magnum opus.

What's Mightier Than a Sword and Robs a Prince of His Servant? | Merlin | Pre-slash Merthur minor canon-divergence in which Merlin's talents in speech writing land him a promotion and Arthur is Not Pleased™.

Only Human | Venom | A short gift/exchange fic about masturbation, lol. The fic I received in exchange was also about masturbation. In my defence this was a writing exercise (I promise).

The Sky Is Falling | Nightvale | Unfinished fic about alcoholism recovery, love, community and the complete collapse of reality.

...Okay wow what a mix :D

5. Do you respond to comments?

I really love comments and I love getting into discussions with readers! It really makes my day to see that someone has commented on one of my fics.

6. What is the fic you wrote with the angstiest ending?

Am I allowed to choose a soon to be published WIP? Words Are Dead, a microfic inspired by the Agnes Obel song of the same name in which Merlin and Arthur are unable to communicate when Arthur returns. Merlin has lost Brythonic, his first language, and his capacity to relearn it. He's simply been alive for far too long and his mind has suffered :(

7. What’s the fic you wrote with the happiest ending?

Like Every Tree has a prolonged bittersweet kind of ending but I think Always His Destiny wins.

8. Do you get hate on fics?

Nope/not yet!

9. Do you write smut? If so, what kind?

Yes, though so far it hasn't been the focus of any of my works, there's no reason why that can't change though (the Venom one doesn't count, I make the rules here). As to what kind I'd say loving and intimate, I guess? Sometimes with a bit of a hurt/comfort element to it. Again, no reason why I can't branch out in the future ;)

10. Do you write crossovers? What’s the craziest one you’ve written?

While not labelled as a crossover, Like Every Tree was heavily inspired by Arthurian media both new and old, and one medieval Irish source. I did so much research for this fic and I'm still down those various rabbit holes. It was a homage to my favourite, janky cartoon movie from my childhood Quest for Camelot. Otherwise I don't write proper crossovers.

11. Have you ever had a fic stolen?

Don't think so.

12. Have you ever had a fic translated?

Also don't think so.

13. Have you ever co-written a fic before?

No but I would love to!

14. What’s your all time favourite ship?

I guess it really has to be Merthur! I don't recall a ship ever having such a hold on me. Those two are doomed but made for each other. The way they interact is so much fun to read/write.

15. What’s a WIP you want to finish but doubt you ever will?

Damn, this is definitely Be Here When the Weather Turns, a Mushi-shi fic. It has a very soft, restful and liminal vibe and I adore it. I really do wish I can finish it someday. So sometimes like a song, you share a piece of media with someone, or you associate it with a particular chapter in your life, and that song/piece of media brings up feelings. I'd like to think it's still worth a read. If you don't know Mushi-shi, please consider checking it out, it was weird and quiet and beautiful.

16. What are your writing strengths?

I can't deny that I put a lot of love into this hobby. Also @breadkween has told me that they really like my dialogue :3

17. What are your writing weaknesses?

I'm really prone to typos. I can re-read something a hundred times and just fail to see them. I'm a very slow writer; what I put out usually goes through months of edits and change-ups. Lastly I have embraced a faux-pas or two for fun, such as starting sentences with 'and.' And no one can stop me >:)

18. Thoughts on writing dialogue in another language in fic?

I'd only be comfortable writing dialogue in a language I've formerly learned and have some level of familiarity with for fear of getting something wrong.

19. First fandom you wrote for?

Okay I love this question because the answer is the highly formative Garth Nix's Keys to the Kingdom series, a YA series I was obsessed with, and have continued to read, and re-read as an adult and as unexpected prequels and sequels popped up in more recent years. I wrote it on a literal floppy disk :D First fandom I wrote for that I actually published online was Undertale.

20. Favorite fic you’ve written?

Definitely Like Every Tree. I'm just really proud of it :3

[syndullahera]

STAR WARS: EPISODE V - THE EMPIRE STRIKES BACK (1980) -dir. Irvin Kershner