#also we lose out on all the tension and build up of these stories????

[tkwrites]

Okay I'm done now and heading to bed, one last question.

Can you name a favourite fic for each of the boys?

Hi my Lovely,

There are quite a few of your asks I haven't answered, but please know I'm not ignoring them. They'll just take a little more time to respond to.

I can tell you my favorite fics, though:

Matthew Tkachuk - Back To You because it's such a complete story. I love the way he and Jessie meet, lose each other, and then are thrown together by fate again. I also feel like I really captured that sassy side of Matthew's personality in this fic, which I was really worried about at the time I was writing it. This is also the story that I think would be easiest to flesh out into a full length novel.

Nico Hischier - I love all the parts of his story for different reasons, but I think It Doesn't Matter Part II is my favorite. I had actually written the whole sequence of nude sketches for another character, but ended up scrapping the whole story because I couldn't find any real conflict for them to resolve. When I realized I could use it for Nico and Lena if she was an artist, I was thrilled and got to work rewriting it for them. In the end, the only things that stayed the same were 5 of the 6 poses. Getting into and out of them changed, as did the characters relating to each other during them. I love all the longing and awkward tension between them in this piece, as well as how they finally end up confessing their love for each other. Finally, the culmination of all of their longing into the final sex scene? Chefs kiss.

Quinn Hughes - This one is so hard. I've written so much about Quinn and Sarah and I love all of the pieces for one reason or another. If I had to pick three favorites, they would be:

1). Five Days of Joy because I'm so proud of this fic. It took SO long to write, but I love the way it turned out. I love that we go through so many consecutive days and such a gamut of emotions with Sarah and Quinn.

2). The Second Time is Better because I love the portrayal of a more real first time. One of the things that drives me batty about romance novels is how the characters get together and always seem to have this instantly amazing sexual connection. No room for human failing or first time jitters. In reality, it takes time to build sexual chemistry and connection, and I went into this piece wanting to show at least some of that.

and 3). Second Nature because I think it has the prettiest prose. I still think this passage is some of the best writing I've ever done:

This was ultimate flirting in Quinn’s book. Something he knew he could do. When someone wanted to talk about music, or art or classic cars, he was a fish out of water. But talking hockey? He could do that all day long. Convincing someone to like the sport he loved so much? There wasn't a more ideal situation. 

“Oh, good,” she said, leaning forward to kiss him. 

This was a perfect evening. Casual and comfortable. Cooking for someone he - liked, and kissing her whenever he wanted, taking no worry of who might be watching. 

Letting himself get swept up in the kiss, he slid his hands over her hips and tried to commit her scent to memory. No matter what happened - though he was pretty sure nothing bad was ever going to happen with Sarah - he wanted to remember this. She smelled like a dream he’d had as a boy. Like vanilla and warm skin and fireside, summer nights. It was an outlandish notion, but he couldn’t shake it. 

All her life, Sarah had read stories about star-crossed, fated lovers thrown together by chance and circumstance and serendipity. But those were all just stories. Even when her grandpa talked about meeting her grandma - like they were always meant to be together, and just had to find each other to make it happen - it seemed like folklore. A tall tale he spun to make their love story seem more epic. 

After writing all this out, I realized perhaps you meant favorite writing from other authors. Let me know if that's something you'd like me to answer.

[dear-mrs-otome]

So given that his story is in Part 3 of the anniversary, and that the maid story event comes after the anniversary stuff (unless they change the order and somehow cram it in before the 7th which I doubt) ...basically they won't be doing any of the pre-relationship events for Silvio before his actual route releases?? That's pretty friggin lame.

[eloise175]

I love these panels so much, I’m never getting over them not only because of how beautiful they are, but also due to their meaning and how it perfectly shows the characters' feelings.

It’s the part where Penelope tells Callisto she doesn’t love him and his face crumbles, he’s so taken aback by it but for all the wrong reasons, let me elaborate;

(contains some novel spoilers!!)

From the beginning, Callisto knew that Penelope’s confession about how she fell in love with him at first sight was bullshit.

He knows she lied to him on multiple occasions but doesn’t mind at all; it’s stated later on in his pov that despite all the rumors and her deception, Callisto too found it surprising how he didn't get angry.

They also had this conversation in the cave and many other occasions when he teased her about it and she kept on saying that she wasn’t in love with him anymore.

However each time Penelope claimed to not be in love with him, Callisto was either amused or grumbled about it playfully.

It’s the setting that changes things. Back then it was all teasing and her getting fed up with him and his successful attempts at eliciting some sort of reaction out of her.

As the story progresses, their interactions become more tense due to the friction and tension being products of their feelings for one another.

We can see the first signs of Callisto ‘wavering’ during his birthday banquet as Penelope is about to reject him.

He looked crestfallen when she brought up love because he still can’t make sense of it, convinced that his feelings of fondness can’t be related to love—or more like, he’s trying to convince himself it’s like that.

Knowing what is about to come, he shushed her, while admitting to the fact that he knew she was going to reject him, hence why he told her to give him an answer on her coming of age.

It’s all because Callisto hoped she would change her mind and her answer would be the one he hoped for, basically her accepting.

Then in the greenhouse things become more serious. The talk about Penelope’s condition had an impact on the build-up of it.

Penelope is completely serious and firm about her rejection, she is more apathetic due to the impending deadline of hard mode’s ending and things falling apart continuously.

She doesn’t have any control of the things happening around her and it makes her grow more and more anxious, to the point where it all becomes too much and it leads her to resign to her fate.

Callisto’s reaction to it is so strong not only because Penelope kept on pushing him towards another woman (which he doesn’t even know) when all he wanted was to be with her, but because she disregarded his feelings in the process as well.

Penelope goes on to say that she doesn’t love him, and that’s the real nail in the coffin, Callisto is actually in love with her but fails to realize it, but his subconscious seems to be aware of it given his reaction.

It’s a “…she doesn’t love me?” slap in the face realization.

I’m saying this because later in the novel, Callisto reveals that he hid his desire to be with Penelope behind the guise of an arranged marriage because he was afraid to admit being in love with her due to what happened to his parents. You could say he has always loved her from the moment they first met.

➺ chapter. 201 from the novel:

Anyhow, Penelope talks about her circumstances and past, saying how while wanting love she also needs and wants someone to take her out of the hell she’s in.

She tells Callisto he’s not that person and he’s absolutely devastated by that statement. He even gets described as dazed in the novel when this scene happens.

It’s a point of no return for Callisto because he still refuses to acknowledge his feelings as love for Penelope.

He can’t have her unless he admits to loving her, but he’s afraid to do so due to his past, he's convinced that if he confesses then she would end up like his mother.

Callisto needs a push, and that push is the fear of losing her forever which comes in the form of Penelope’s poisoning on her coming of age ceremony.

It all boils down to “don’t make any assumptions about my feelings” and “you don’t know what/how I feel” but we don’t get that since Callisto is suppressing it.

He’s angry and rightfully so and Penelope’s earlier apparent indifference doesn’t help either.

But yes, Penelope’s rejection hurt him so much because loves her.

Callisto is conflicted and in denial. It’s like he’s already having an inner battle about his feelings and then Penelope comes and deals the final blow, stomping all over his heart while pushing him away.

"I chose you, Penelope Eckhart. Not your household." and “Does my proposal mean so little to you?” are so telling because it’s clear that he’s been strongly impacted by all of this.

Callisto genuinely wants to be with Penelope and get her to the safety of the palace but went about it the wrong way.

They’re so miscommunication, it will be so long before they get to talk properly about their feeling and we get that love confession I’m not okay T_T

Thinking about all the things that will happen before that is making my head hurt, I’m going back to reading my comfort fanfics…see y’all tomorrow when the beginning of the end begins with more yearning and angst as Callisto will come back :,)

[onskepa]

Yay requests are open!

What about a platonic Ronal x scientist? Yes they study the planet but ronal cannot help but like them because they respect the culture, her medical skills and only seems to find the silver lining in her stiff comments. Like come on human I am trying to make you leave through the power of rude and you just gave me a freidnship bracelet? Wtf I imagine tonowari just snickering every night as she complains about her new best friend

Hellooooooooo darling~!!

Yes! Another ronal fic! Thank you for requesting and I hope this cute fic will satisfy you and everyone else! Enjoy~!

Irayo pt2

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Irayo

“You are good to go, if anything goes wrong or if they are not very welcoming, just say the word and we will get you” the head director of the ocean na’vi program says. In front of him was the new girl. Determined and open minded to learn new things, and was given the ultimate task. 

Make the first human contact with the reef na’vi. 

Nodding in excitement, the new recruit gets into a canoe with her prepared items. Making sure she is set for sail, she looks at her comrades. “I will let you know everything. Hopefully, this can go well. If doctor Agustine has faith in us, we can't lose” she says with optimus in her voice. 

Saying her last farewell, she sets off to the Metkayina island. 

“This will be good, I can feel it!”

She arrives at the island, her eyes in awe as she gets closer to the shore. So many na’vi! They all stare at her, many in fear, others in curiosity, and many ready to fight her. Raising her hands, she gets out from her canoe and displays she is of no harm. 

“I come in peace, I bring no harm” the human girl announces in perfect, fluent na’vi. 

Many, from what she suspects are warriors, stare at her in surprise. 

“You are a sky demon! Leave or we will not be easy on you!” one of the warriors warned her. Another warrior follows after. 

“We heard what you did with the forest na’vi, leave! You only bring death and sorrow wherever you go”. 

The tension was building fast among the other people. Mothers protecting their children, might warriors standing in front of the weak. Any wrong move and she might end up dead. Which is a high factor. 

The crowd breaks as two significant looking na’vi walks through, from how they are dressed and the others willing to step aside, the human knew exactly who they were. 

And it gave her excitement. Already the first and she is seeing so much! 

The human was quick with the traditional na’vi greeting of “I see you”. In hopes that the tension can lessen if she displays their ways. 

The Tsahik and Olo’eyktan looked at her carefully. Observing her every move and detail. Small hint of disgust but also confusion as to why a human is here. 

“Hello, I bring no harm. I am here to learn your ways. Allow me to prove myself to you, perhaps you have heard of the dark stories of what the humans did to other na’vi, but I promise you that I only bring peace. Please, teach me your ways”. 

Ronal doesn't know what or how or even why. But after a lengthy discussion with Tonowari, they granted the human permission to enter their home. And learn their ways. As best a human can learn. While Tonowari was more loose on letting the human in, Ronal felt different, at first she came defensive and was always on alert should the human do something that seems bad under her eyes. 

But the human was aware where the line drew, only did what she was allowed to and dared not to push boundaries. Ronal wasn't making it any easier for the human. None whatsoever. In fact, Ronal planned to make things so difficult for the human that she would have no other choice but to leave. 

Now if only it worked that, and not Ronal making it harder for herself. 

 “Put more strength in your arms. It must be thinned out and easy to separate. Any thicker and it will be difficult to mix” Ronal instructed the human with a harsh tone. She was teaching the human how to make crushed, thin, dust-like green material. Very dry leaves that were thoroughly picked from their small forest.

The human woman smiled and obeyed, “alright tsahik”. Doing exactly what she is being told. That is the thing that irks ronal. The human doesn't fight back. She doesn't do anything! 

“A child can do a better job than you,” Ronal says with a snarky tone. The human just takes it, “I don't doubt it. This is more of their ways” the human replies with such calmness in her voice. Not a hint of anger, impatience, nothing. 

“Dont think this will be enough, there is still much more to grind down” Ronal says, as she places a lot more dried grass in the already big pile. The human stops for a few seconds to look at the bigger addition. Ronal smirks, surely this will be it? “Guess I better grind faster to finish all of these” the human says in glee and continues to grind. 

Ronal’s smirk left her lips, fine then. Tomorrow will be worse. 

Harsher insults, harsher training, harsher practice. Ronal threw everything at the human, but nothing breaks the human girl. And it infuriates her to the core. Why wasn't she fighting back? Why was she accepting everything? Why was she letting ronal belittle her? 

Ronal’s anger grew to where Tonowari had to enterfier. 

“Ronal, perhaps you are pushing her too far?” he asks her one day. Ronal scoffs as she does her small tasks in their home. “The human can bare it. Anything I give her, she accepts. That utter fool” she replies. Annoyance heavy on her tone. “She won't break so easily. Not made of sea glass” she continues. 

Tonowari sighs, walks up to her and places a hand on her shoulder. “Perhaps not, but your tolerance is thinner than these fibers. Perhaps by surprise, it will be you who will break first”. 

The human began to make and wear her na’vi like clothing to fit in more. And as she talked more with the other clan members, more began to welcome her with open arms and even into their homes. Adapting more into their culture and ways of life. They began to accept her. 

Ronal wasn't so ready to accept the human. 

Not yet at least. 

One night, after the communal dinner, Ronal took the human away from the noise and into a more quiet part of the small forest. Yet, along the way, the human not once asked where they were going. Never questioned ronal’s actions, her odd behavior. Nothing. 

When they arrived at a beautiful blue glowing waterfall, Ronal kept a bit of distance from the human. 

“Tell me human, why do you accept?” Ronal asks after a few minutes of silence. 

The human blinked once, “accept what tsahik?”. 

Hissing in frustration, Ronal turns to look at the human in anger. 

“Why do you accept everything?! I keep pushing you to do beyond what you physically can. Accept any insulting word I give you. Force you to do things clearly you are not very comfortable with. Why do you accept my harsh treatment towards you?” 

The human sees Ronal and sees how she truly feels. Taking a deep breath, relaxing her shoulders, the human does what she does best. 

Give her an honest smile. 

“You have every right to treat me that way. While I am not personally responsible for the thousands of killings of the na’vi, I still feel ashamed and guilty as if it were my own crimes. My kind has treated your kind terribly. So, I understand if you feel any anger or hatred towards me for simply being human. But I accept, I accept it all. If it means to be part of your world, your clan. I would gladly accept anything you throw at me. This is a dream come true for me. This planet, the life it holds. The environments, plants, animals, you. I love and respect everything about your world. All I desire is to learn how things are. From learning about Eywa to learning of the na’vi ways. My only desire is to learn. To have you personally teach me, it is a high luck I could never get anywhere else. So that is why I accept all that you give me. A price to pay for the things I can see and experience. So Tsahik, that is why I accept it. As my way to thank you” 

Ronal saw the human, looking deep into her eyes to detect any lies, but all she saw was the truth. 

“You fool…”

“Irayo, just in time for breakfast” Ronal welcomes her human friend. Irayo, that is what Ronal calls her ever since that night. It's been stuck to her ever since, not that she plans to defy the tsahik wishes. 

Irayo sits in the home of ronal and tonowari. Accepting the food, she begins to eat. But not soon after, she felt a little tug from her wrist. Looking down, Irayo sees little tsireya playfully tugging at her bracelet. Taking it off, she hands it to tsireya who tries to bite down on it. 

“Has tsireya began teething?” Irayo asks, ronal nods but gives a disapproving look.

“She will rip off the beads. You worked so hard to make it for us” Ronal says as she points to her own matching bracelet. Irayo laughs, “that is fine. It will give me an excuse to make better friendship brackets for us. I will even make another for cute little tsreiya” Irayo replies as she playfully pinches tsireya’s chubby cheeks, making the child squeal in delight. 

Tonowari sits down to join them. 

“Today irayo and I will attend to the elderly, tsireya will be under your care until noon” Ronal says to him. 

Tonowari nods, but couldn't help but smirk a bit. Leaning in, he whispers into Ronal’s ear. “Your friendship with irayo has improved greatly. I still remember when you called her many foolish names”. 

Ronal rolls her eyes and taps his forehead lightly. 

“I recall no such things. Irayo has been my good friend from the start”

Aaaaaaaaand that is all for this one! I hope you all enjoyed this fic! Until next time, see ya!

-------

Irayo = Thank you

[alexwritingspot]

hii!! I was wondering if you could write percy jackson x reader with prompt 3 or 7? I know that you wrote an enemies to lovers recently but those are the vibes that these two prompts give me. maybe it can be something else! feel free to do whatever you're comfortable with!! love you, thank u!!

Hidden feelings…

An unexpected convocation from the gods leads to a messy confession behind the closed doors of a elevator…

Prompts 3 and 7: “Wait- are you jealous?” “You wanna kiss me so bad~”

pairing: Percy Jackson x reader

word count: 1.4k

Warnings: none

————————————————————————————

A/n: Hi darling! I deeply apologise for making you wait so long! 😓 In the start I had promised myself I would have written your story pretty early, but then I didn’t have a scenario in mind! So I’m really sorry if you waited like- two months, before getting your request done, hope you won’t unsubscribe because of this 🧡😭 anyway, enjoy your reading!

P.S. I tried making this a bit longer as an apology

————————————————————————————

You couldn’t believe it. You were walking to the Empire State building with Percy Jackson, the famous son of Poseidon, the hero of the Olympus and also your enemy. You didn’t really hate each other, you simply couldn’t stand him because he always took the spotlight on himself, leaving the others with no time to shine. Even if he claimed that he didn’t want all the attention for himself and that he even tried to hide from the spotlight you didn’t quiete believe him. But here you were, walking by his side after a flash convocation from the Olympus, what did they possibly want?

You had tried to figure that out since Chiron had called you over at the big house, but you didn’t give yourself a proper answer. You kept walking and you tried to ignore the glances that sometimes Percy sent your way. “Today the sky is really cloudy” he said in a attempt to try and make conversation “I bet the king himself didn’t wake up with the right foot” he joked, trying to ease at least a bit the palpable tension between the two of you. “I bet that he’s going to fulminate you one day if you keep talking about him like that” you said with a sharp glare threw in his direction.

After walking for about ten minutes more you both arrived at the entrance of the enormous building. “Here we are” you said, and before Percy could add anything else you were already inside the skyscraper.

You entered the building and went straight to the receptionist “600th floor” You simply said, giving the poor employer a death glare. He looked back emotionless “we don’t have a 600th floor” he was doing his job, you didn’t really blame me for it. “Look, you’re talking to a child of g/p and a son of Poseidon so you better let us in-“ before you could finish Percy stepped in, gently pushing you aside.

“Sorry for my friend here, but you see, they are having a bad day and a convocation from the gods really was the cherry on the top, but we need to get on Olympus as soon as possible, you wouldn’t want Poseidon or g/p mad at you because you didn’t let their children up, would you?” He pulled out a confident smile and you rolled your eyes.

The man looked between the two of you before stamping something on a paper sheet. “And what might your names be?” He asked, and you were starting to lose it “Listen here you little-“ but before you could add anything else Percy pulled you back again “Percy Jackson and Y/N L/N, now may we enter the elevator… please?” He looked at the employer expectantly.

He stamped something else before getting up and starting walking “this way” Percy let out a sigh of relief. You and the son of Poseidon followed him until you were arrived “Have a nice trip to Olympus” he said flatly, before walking back to his desk.

The two of you entered the elevator and when the door closed leaned over the mechanical box’s “wall” to catch your breath.

”I’m not your friend” You suddenly blurted out “I didn’t come here to keep you company or anything, I came here cause I was summoned by Zeus himself, so don’t make up strange ideas in that head of yours.” You warned and crossed your arms.

He looked at you slightly hurt “Has a manticore stung you or something? You’re more bitter than usual.” You shot him a death glare but said anything, his eyes had caught your interest, they were beautiful… For Hades, what were you thinking?!

You quickly looked away and waited as it played in the background an old song named “You make my dreams (come true)” by some old singer you couldn’t remember the name of. You wondered who had chosen the elevator playlist, it had probably been Apollo or one of the muses.

You glanced around and found Percy staring over at you, he had a strange look on his face, and you couldn’t quite place the emotions he was feeling. “What is it? Do I have something on my face?” You asked, not because you were actually worried about your appearance, more to break the strange atmosphere that was building up.

He quickly shook his head “no no, I was just looking at you… you’d be even prettier if you smiled more sometimes” he stated, and you looked at him, your mouth slightly agape. You tried to hide the forming blush of your cheeks, but you failed miserably. At that he let out a chuckle.

That only made you blush more, the tips of your ears red from embarrassment. “I…” you tried to come back at him with something, but you just couldn’t, he was too handsome in that moment. “Just shut it, would you sushi prince?” It was meant to be a sort of mocking insult, but it came out cuter than you expected.

You saw Percy take a step closer “Sushi prince?” He ask, trying to be serious, but barely managing to hold in a laugh. “Yeah, cause you’re a son of Poseidon, and fish call you prince, and you use fish to make sushi-“ I looked up at him “you know what? Drop it, it wasn’t that great of an insult” You simply concluded.

“No why? No one had ever called me that, it’s… creative, let’s say” he tried. You gave him a look that said ‘really?’ And them the two of you bursted out laughing. Maybe he wasn’t so bad after all…

You unintentionally took a step closer to the boy, there had always been something that had attracted you to him in the years, but you denied it behind the excuse that you didn’t like him, but oh boy if you did, liked him. But then something he said pulled you out of your thoughts. The elevator had stopped. Why? You asked yourself. Of course it would have been you.

He looked at you “there’s no need to worry, Annabeth explained me once how these things work, we just have to call in the emergency” he stated calmly as he pressed the yellow button. “Annabeth, huh?”you asked him. You couldn’t quite place what was the strange feeling that you felt in the pitch of your stomach when he named her, but you didn’t like it.

“Yeah, Annabeth” he replied and you just stared at him “you and her are pretty close, aren’t you?” You ask, annoyed. Percy just looked at you, slightly confused. “Well, yeah, but we’re only friends.” He stated, and you could hear in his voice that he was telling the truth. Then why didn’t you believe him? “Oh yeah, just friends, got it” you retorted back, and you cursed yourself for not having held your tongue.

He seemed surprised but then… a sly smirk formed on his lips. “Wait- are you jealous?” He smiled like a little kid on Christmas day. You looked away “No…” but your redness was hard to hide now. “You’re jealous! Oh gods, you’re all red” he laughed, and maybe, but just maybe, his voice wasn’t as annoying as you remembered.

“What if I am?” You then asked him, still leaning on the wall of the elevator. He smiled even more cheekily “No nothing, I just think it’s cute” he said, and leaned closer. You didn’t push him away, yet you didn’t lean in.

“Why do you hate me?” He asked “I don’t hate you” you paused “I just think you are incredibly self-centred sometimes” you admitted. “Oh, thank you” he replied sarcastically with a playful roll of his eyes “Just so you know, I don’t find you self-centred, annoying or anything like that, you’re just impulsive” he stated, and he was standing so close…

You glanced at his lips, because how could you not? You then forced your glance back on his. His usual smirk returned “You wanna kiss me so bad~” he teased and then leaned over the wall, pinning you to the elevator wall, but you weren’t intimidated. “So, what if I do, Jackson?” You asked in anticipation of what was about to come.

“Oh nothing” he answered and leaned closer, your lips just a few inches away “maybe I want too” and then his lips crashed onto yours, and nothing else mattered, it was only the two of you, and you wouldn’t trade that feeling for anything else.

[tremendously-crazy]

Ranting about ACD Johnlock because these Victorian husbands need to be happy for me

What the hell happened between Holmes and Watson in 1902 and 1903?

Context: 3GAR is described as happening in July 1902, and ILLU happened in 1902. CREE and BLAN happened in 1903.

In 1902, Holmes and Watson were inseparable.

I don't even need to elaborate when I mention 3GAR. "It was worth a wound" should be enough to remind you of why. I was so touched when I read Holmes seeing his Watson injured and rushing to his side. He is terrified at the thought of losing his friend. It was amazing to read this seemingly cold, distant, and unemotional man threatening to murder the man who almost killed his best friend. There was loyalty, there was love, and it was beautiful.

According to ILLU, in 1902, they're also frequenting Turkish baths together. (which, I might add, was a common place for homosexual men to gather, do with that knowledge what you may) They're lying side by side on two couches with nothing but a blanket on either of them as they dry off. Watson hears Holmes is injured and nearly passes out, and he rushes to Baker Street to see him as soon as possible. He is terrified at the thought of losing his friend. He gingerly sits at his bedside to ensure that Holmes is okay. These are all very intimate things to do between friends. Indeed, this even suggests the possibility of the two being lovers.

IMAGINE that. These two are inseparable. Clearly, these two stories help to build on the idea that they love each other (platonically or romantically. To me, they seem romantically involved, but even as friends, they do love each other. It's all up to personal preference.) Their relationship is so strong, more than anything we have seen before. These stories showcase their love for each other and how passionate they are for each other.

Now, flash forward to 1903, when CREE and BLAN take place, and we are given an entirely different narrative. Watson describes himself as one of Holmes's "habits" in CREE, saying he felt as though he was an accessory to Holmes. Their relationship is "peculiar," and he is only called over to Baker Street as some kind of tool Holmes can talk to or use on a case. Holmes can rely on Watson, and he is, in a way, taking advantage of his reliability. Throughout the entire story, we can feel the tension between these two (remember how Watson had to stress over his practice in order to join Holmes on the case, and Holmes seemingly did not care at all). It seems partially resolved by the end, but there is still a feeling of bitterness that was fully apparent to me while I was reading it. It seemed like their interactions were angsty and passive-aggressive.

In BLAN, Watson does not even live with Holmes anymore, around a year after 3GAR and ILLU. Holmes explains he has "deserted" him for a wife, which he described as "the most selfish action I can recall in our years of association." Holmes was alone. In the story, Holmes cannot stop talking about how much he misses "his" Watson.

These four stories have such a sharp contrast. They have been absolutely terrorizing my brain a lot as of late. I feel like them being so close in ILLU, and *the* moment in 3GAR are some of their strongest moments together. They are both so terrified to lose each other. How is it that a year later, according to the canon, they are barely on speaking terms? My question is, if we are to trust the canon dates, what happened during those months that caused them to drift apart so terribly? How could Watson leave his Holmes for a wife so recently after these frightening events?

Another point about this supposed second wife. I don't think she even existed. (I do think Mary was really Watson's wife, and I might've reblogged a post about it somewhere) But about the second wife. As far as I'm aware, she's mentioned one (1) time in one (1) story by Holmes, and it was likely just a ploy by ACD to separate them (oh well, I'll just give him a wife. That'll separate them good enough.) It's easily enough ignored for that reason. Watson was, in fact, away from Baker Stret, but the idea of a wife was, in all probability, just made up by Holmes as an excuse for his absence.

I'd like to add my personal headcanon because the continuity in Sherlock Holmes is actually so messed up. John is called James in one story (TWIS, if you want to see for yourself.) October 9, 1890, is called a Saturday when it was really a Thursday (REDH) There's a story set in 1892, when Holmes was supposedly dead... etc, etc. Given the known unreliability of dates in these stories, would it be so unreasonable to suggest that the dates of the four I have talked about were swapped? That, in fact, CREE and BLAN were a falling out in their relationship and that ILLU and 3GAR was their healing? That the former were set in 1902 and the latter, in 1903? I can understand that after knowing someone and living with them for so many years, you may start to take them for granted. But after you narrowly lose them, you would not do such a thing again. (Especially not only a year after such a traumatic experience!!) Therefore, I believe CREE and BLAN were examples of how their relationship was beginning to fail and were actually set in 1902 (or some other date in the latter days of their relationship), and ILLU and 3GAR were reminders of how much they meant to each other, and they happened in 1903 (or, more simply, a year after CREE and BLAN).

Thank you for coming to my Ted talk. I know this is completely incorrigible and nobody's gonna read it but I just wanted to get it out there.

TL;DR: Late Sherlock Holmes canon sucks. No way that they had both near death experiences in 3GAR and ILLU, and less than a year latery they can barely stand each other in CREE and BLAN. My personal headcanon says CREE and BLAN were moments of stress in their relationship and that 3GAR and ILLU happened afterward to remind them of how much they appreciated each other and help reconcile them.

[bookshopsbizarreblog]

Can we talk about how good the Moon Mining song in Midst S3E14 - Shindig is? Like, I've heard lots of songs across the various podcasts I've listened to, some of them quite good. But I have yet to encounter one that was situated in the story as masterfully as the Moon Mining song, or that conveys a fraction of the emotionality. Even without getting into story spoilers, the (at least seemingly) improvised nature of each verse, the layering of shouts and cheers and merry heckling to create a whole crowd leaning into it, the way each character expresses themself and their situation (and is expressed to us as the audience), and even just the way the song is introduced paint such a vibrant and lively setting. The entire 5-ish minutes just radiates a community coming together and having fun.

S2E4 - Weather used to be my favorite episode, as someone who has a deep love of cosmic horror and general eldritch shenans, but I've gone back to Shindig at least seven or eight times just to listen and relisten to that single song. I can't imagine not getting swept up in the revelry, and its position within the episode (and season overall) just sells it so much harder. More concrete spoilers beneath the cut.

If you haven't listened to Midst, please do. Gracious goodness, it's so good.

The entire episode is a rollercoaster of highs and lows for these characters and the community of Stationary Hill that we've gotten to love at this point. Sherman and Tzila finally arrive home, to celebration and joy. The community is barely recognizable but we've seen them band together and rebuild. And at a pinnacle of tension, after the gut punches of Hieronymus' confession to Saskia and the Vault demolition plan and Weepe's victory over Kozma, we finally get a brief break. But even that break is tainted with uncertainty and pain. Right before the song begins, we get Emmet's toast to the fallen, Sherman's uncertainty and fear of staying in Stationary Hill, all the festivities and merriment tinged bittersweet. And then the catharsis hits. It's not announced as a song. It's not a side bar where the ambiance cuts away so a tune can be inserted above the story. All we know is that Goe is getting on stage, and the narrators are saying we're missing something, but what? "That's right." "It wouldn't be a party on Midst without-" "Goe: It's time, you dang raskals!"

It's like the podcast version of show, don't tell. They could have laid out that a song was coming up. They could have even just launched into it. But by merely having uncertain build up and sudden increasing excitement and anticipation from the crowd, we get dragged along with it too. Straight from all the emotions of the previous conversations into this building energy with no clear outlet. It isn't until the cheers and diegetic voices demand "that friggin' moon tune," now that we are also fully on board, that the end point is revealed. And then it slaps.

The different methods of singing for each person, of which Saskia and Ettie (x2) and Ned (whose voice makes me understand the random background lady) stand out the most. Bets and Walter's and Tzila all representing different versions of how a kid would approach being asked to sing in front of their entire community. Sylvester and the chanting and everyone joining in on the chorus and the way each person's verse is a snippet of their life and perspective and situation and story without it being overbearing. It just. The whole thing. It screams of the close-knit Stationary Hill community, which then also pays off in another big way during the last episode.

I highly recommend listening to the song again, with headphones and the volume cranked up to get the full experience if you haven't already. I'm losing my mind over this song. If tumblr woulda let me, I would have just uploaded the full 5:19 clip I isolated, but unfortunately it wound up being too big to post. So here's the link to the time where the song specifically starts.

Thank you so much Third Person ( @midstpodcast ) for creating such a full and magical world.

[randomness-is-my-order]

from the start, i’ve mainly been praising the show and have spoken against the minor nitpicks but i think some constructive criticism won’t go amiss. i’m always going to advocate for praise + critique but since literally all my posts praise the show (character-work, writing, directing, cinematography, literally all aspects) i’ll focus on the main issues i have with it for this one.

i’m only saying this because i do think there is merit to the conversation: yes, i agree with many other people saying the show has a very real lack of tension. the stakes are established, potential horrific consequences are alluded to, but the instances in which the action needs to take place falls short. i wanted to see percy and annabeth and grover SHOWING their inexperience through stumbling on traps (which would automically raise the tension in both medusa’s lair and the lotus casino), i wanted them to make mistakes and quick-think their way out of it. sure, there’s something to be said about conveying annabeth’s intelligence but aunty em was a great way of highlighting percy & annabeth’s dyslexia by having them be unable to read the signs. the statues could have been removed from the yard–a move that would show medusa’s intelligence instead. similarly, the fun of the lotus casino was about the creepiness that slowly and steadily builds on the backdrop of this harmless kid carival like setting. percy, annabeth and grover’s intelligence and knowledge has already been built in other obstacles so seeing them actually fall for well-set traps seems to me like a much more nuanced portrayal of the kids, their capabilities but also their weaknesses. speaking of, i was waiting for one moment of annabeth making some mistake, showing some flaw. i think it would have been cool if she was the one to lose her drachma given that she was undoubtedly jostled hard while clinging to the cerberus. grover already felt like he messed up after the lotus casino and having percy reassure annabeth after her drachma screwup would really nail in that yeah she’s intelligent and wise but she is also just 12 and she can be a bit reckless too.

honestly, i’m a sucker for flaws. i love my emotional percabeth bits to death but would i have rejoiced just as much had both of them been a little more unempathetic towards each other and been at each other’s throats for a few more episodes? yes.

i love show grover and his earnestness and savagery in manipulating a god but do i love my little coward goat boy who slowly but surely proves himself to be capable and brave? who keeps asking for food at the most inopportune moments but really has percy’s back at the end of the day? who is severely unconfident but slowly learns to trust himself more? yes! i just feel like the grover we have now was my imagining of grover in book 2-3. we never got to see his major flaws so i’m just wondering what kind of upward arc will he have and will it be as impressive as the books.

i really really appreciated that percy’s impertinence was actually something he paid a price for. it will make his continued rebellion against the gods that much more intentional. that said, i would have liked percy’s relative ignorance of the mythic world to still remain. having sally make him so prepared that he sometimes manages to know obscure greek stories sort of blends their roles in the trio. yes, each one of them is layered and there is no one super rigid position they must adhere to but this is storytelling on television at the end of the day, the characters should have unique traits to distinguish themselves. for me, percy’s intelligence was about his presence of mind and deductive reasoning which the lotus casino scene in the book beautifully portrays. similarly, his knowledge was less about facts he knew and more about the street smarts he had acquired. in some way, annabeth and percy have a weird overlap in characteristics (show annabeth feels as sassy as show percy which is not the book dynamic imo).

i don’t see these as minor nitpicks btw – i think show portrayals have changed these characters through small changes and while that is okay, it also leaves room for improvement before it is too late. there are many considerations to be made–percy’s grief, annabeth’s tackling of complex feelings about the gods, grover’s guilt, ofc. but it’s, i think, a valid critique of the show that the main trio’s dialogue and actions could be made more faithful to the books.

also, i think the direction can be more dynamic, especially in exposition-heavy scenes. there are ways to make info-dumping fun and i’m sure the directors are more than capable of exploring these options moving forward.

there are many more smaller things i would point out but i don’t want to make this longer that it already is. many people handwave alot of the critique saying that the show is for children to which i say: children’s media doesn’t mean lesser quality media–the books were literally made for children yet on tv, many scenes are sanitised, very little left not on-the-nose. i have myself mentioned how certain scenes could be impossible to film with 12 yr olds (medusa beheading) without harming them mentally in some way so i appreciate the clever sanitization there. but the action sequences do need much more edge and that’s okay to acknowledge. the show we have now is great but it is absolutely not without flaws and normalising discussion about the flaws is only going to benefit the show moving forward.

and lastly, rick might be the author of the books but there is no rule that once you like an author’s work, you will have to like all of that author’s writing. just because rick made some final decisions does not take away the fandom’s rights to question those decisions and critique the screenwriting. there is seriously no use putting him on a pedestal–and i say this as someone who adores his writing in pjo.

let’s let the fandom breathe a little. let the mild, politely conveyed critique become commonplace as much as the ardent praise because i think that’s the balance we need to ensure that season two delivers on all the fronts that season one was unable to.

that’s all. thanks for reading lol. have a nice day. :))

[crumblinggothicarchitecture]

Taylor Swift Can't Write- She is not a serious or important writer. She is blatantly normalizing cheating in her music.

Let’s talk about Taylor Swift’s honest attempt at coherent narrative -  

Just to be clear, the songs in question: Betty (2020), August (2020), and Cardigan (2020). 

In these songs, Swift, of her own insistence, makes a clear attempt at drafting together a coherent storyline. I, however, found her work lacking while considering it against the many thousands of other short stories I have read. It lacks any sincerity in giving the moment in which the characters experience self-reflection, or "Epiphany" moment, and growth.

An Epiphany is defined as a sudden spiritual manifestation- and it is this I would posit as something that Swift clearly lacks in her writing. She lacks the spiritual, or emotional, depth to accurately tell a so-called "coming-of-age" type story in which the main requirement is that the character has an "Epiphany" about the nature of life to signify them growing up.

I will explain:  

A short story- which I am analogizing to the multi-song arch from Swift- is typically meant to have an epiphany moment in which the main character finally calcifies the main point or the moral of the story. Without the impact of this moment within a short narrative- there is no arc, no moral, and therefore no real story.

Afterall, what is a story, but a coherent subsistence of writing aimed at identifying some universality of human existence (eg.) a moral, a point, or the main message? If I want to get philosophical about it (and I always do), narrative is the act of creation through which the particulars become implicit to a universal experience. Thus, it is a necessity of storytelling- to include the thematic message- or moral backbone of the work.  

Swift’s three song arc is intrinsically incoherent, so it becomes difficult to pinpoint exactly what each character is thinking or feeling. I would, however, suggest that through lines like “slept next to her, but / I dreamt of you all summer long” (“Betty” 2020), and lines like “I never needed anything more/ whispers of ‘Are you sure?’ / ‘Never have I ever before’” (“August” 2020). Therein builds an internal tension between the three characters, James seems to be lamenting his choices to sleep with August and ditch Betty for the summer; whereas August is honestly expressing the fact that this is her first time, so it becomes obvious this means a lot to her. First, we see James's apologizing to Betty saying that the other girl, essentially means nothing by saying he was dreaming of Betty all summer even while with August. We also get the other perspective of the other girl losing her virginity to James during the same summer in which he is thinking about Betty every night.

Already, all the characters are set up to be dislikable- which is not always to the detriment of storytelling. However, it is to the detriment of her storytelling that at no point Swift makes use of external POV, or internal POV, to show any form of personal growth or condemnation of the intuitively morally corrupt actions of James here. Thus, there is no real story- according to the theory of “short-story” telling I laid out above.  

It is her lack of condemnation towards cheating- and the immature irreverence James treats August with- that solidifies this arc as being a rather poor attempt at coherent narrative. Simply, Swift is either an inept storyteller- or she is blatantly normalizing cheating while also treating “the other woman” like a placeholder. (Clearly, Anti-Feminist rhetoric, btw). It’s especially bad that this storyline reaches no “moral of the story” since it is so obviously August’s first time. 

The closest we get to any kind of meta-narrative commentary on thematic point, from Swift as the external 3rd person POV, is with this line “A friend to all is a friend to none/ Chase two girls, lose the one/ When you are young, they assume you know nothing” (“Cardigan” 2020). Again, her use of POV is rather amateurish- because she returns to internal 1st person POV with use of the word “you” in the latter half of the line- which leads me to believe she really doesn’t know how to inculcate the different POV’s into her writing. She’s an amateur- and there's is nothing inherently wrong with that, however, if we could all stop lauding her as literary genius when she is so clearly not that would be “awesome.” Thanks.  

She continues the rest of the song back into Betty’s 1st person POV. The poignant nature of this line about "losing one girl" doesn’t land because the rest of the song is about how James is returning to Betty. Swift writes, “I knew you’d miss me once the thrill expired/ and you’d be standing in my front porch light/ And I knew you’d come back to me” (“Cardigan” 2020). Beside the fact that this line is internally incoherent held up against the setting of “Betty” which is broad daylight, so James would not actually be in the porch light if the sunlight suffices, it is also quite obviously the culmination in which Betty is taking James's back. If there is any thematic message here- and I can only loosely believe this is an actual message here- Swift is saying that cheating is Okay as long as the girl, you actually respect and want, is willing to forgive you.  

And I’m supposed to enjoy this arc? People are supposed to be impressed with Swift because she came up with this garbage?  

She clearly has no grasp on Narrative coherence, no grasp of utilizing POV switching to make narrative more emotionally impactful, and no grasp on how to embed a good moral of the story into her work. So, she has none of the markings of actual great writer.  

The effect of all this is a subterfuge of lackluster emotional appeals- and a toxic love triangle that never resolves into personal self-reflection or growth. The story devolves into blameless banality with no personality or literary value whatsoever- just a reiteration of self-centered egoism that enables James to act without thought to the feelings of others. This is what Swift propagates as good storytelling? Is this morally sound story telling?  

Let me further drive my point home by dichotomizing this pitiful attempt at narrative coherence with the work of a literary genius, James Joyce.  

Has anyone here ever read “Araby” (1914) by James Joyce? (Sidenote: If you love when Hozier talks about issues of British colonialism in Ireland- you will most likely enjoy James Joyce as well- if you love critique of both organize religion and its sociohistorical ties to colonialism- you'll love Joyce).  

My critique too- ties into Joyce, where he showcases the blissful ignorance, or naivety, of youth in pursuit of love, Swift showcases no such thing. She is often praised for her juvenile writing schema- yet in her most overt attempt at writing a youthful romance she fails to interject the most important aspect of youth- Naivety versus painful realizations. In adulthood, when we all reprise the past, and trace back into our memories, we often speak fondly of the naivety of youth- with a little knowing twinkle in our eyes as young people around us make the same mistakes we did. It’s so beautifully human to reflect like this- and Swift manages to add nothing of this universal human experience into her work, even though it is often said that her only saving grace is the ability to capture “teenage petulance” and the proclivities of youth. In other words, I’m saying she’s not even doing the thing she’s known for well enough. She writes this love story like they’re all a bunch of bitter adults, not kids stepping into thoughts of love for the first time. There’s no simple wonder at love- instead, she writes about cheating and feeling jaded. Ditching people for the summer only to come back to the first girl with an "I'm sorry" and "she meant nothing."  Where is the personal growth in a story like that? In which James gets away with saying "she meant nothing," and August is not shown having any agency or reclamation of self after James essentially uses her. Then, to top it all off, Betty most likely gets back together with James. There is no growth to speak of in any of this- it does not qualify as a "coming of age" story- nor does it particularly qualify as a story at all.

This is like English Creative Writing 101 class- btw. It's strange that Swift does not grasp concepts I've taught to college freshmen before. If the freshmen can handle learning it- surely Swift could also be able to learn and improve the thing she does as a job? Right? No?

 “Araby” is a story of a similar predicate to Swift attempt at narrative. So, I thought it most apt to include here as an example which also employs use of Epiphany in short story telling.  

In quick summation, “Araby” is the story of a young boy who has a rather intense crush on a neighbor girl. He promises this girl that he will go buy her something at the market, and in doing so sets off a sequence of events which leads to his ultimate disillusionment with the ideals of youth and love.

Early on in his character development, we see a boy who has an overly romantic view on life, with lines like “All my senses seemed to desire to veil themselves and, feeling that I was about to slip from them, I pressed the palms of my hands together until they trembled, murmuring: ‘O love! O love!’ many times” (“Araby” Joyce). He is so clearly caught up in the longing for this girl- that he truly forgets reality for a moment. His senses slip from him, and he is fully immersed into the lost revery of his little crush on the neighbor girl. Then, like magic, she speaks to him for the first time the next day. She asks him if he will go to the market, and he responds eagerly- Yes. He promises to buy her something.  

The conflict of the story happens at this point- the young boy meets every obstacle in life preventing him from getting to the market on time. He struggles to find money and then he struggles to find the time in the midst of his other obligations to his family. Joyce is clearly showcasing how our romantic visions of life, of everything going perfectly and romance being easy, can so easily be disrupted by the realities of poverty and the responsibility we all bear for family or others.  

The end of the short story outlines the “moral of the story” in which the young man, now nearly too late for the market and without enough money to actually buy anything, with the last refrain that “Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger” (“Araby” Joyce). Thus, Joyce drives home the "epiphany" moment, or the self-reflective moment of character growth, as it pertains to the fruitless endeavors of youthful vanity in romance. Stating, essentially, that people only dream of overly romantic scenes to bolster their own perception of reality as something that should go perfect for them. Life is not perfect, nor is it ever fair, and nothing happens as fantasy suggests it should- this is the hardest, and often the first, life lesson young people ever face. Anguish and Anger. What a beautiful phrase to remark upon- as this poor young man realizes life is comprised mostly of being “a day late and a buck short.”

This intensity- this moral backbone is what brings the story to life. The way this story enumerates the youthful hope- to the burgeoning adult reality- as something full of anguish -allows readers to bridge empathy towards others as WE all grow up in a difficult world. This is the "Epiphany." This appeal universal human experience, through particular circumstances like that of a young man in early 1900’s Dublin, is what is missing in Swift’s work. She gives us nothing but her own selfish refraction of immoral behavior without any appeal to greater human impulse or discovery.  Her work rings hollow in the face of actually talented writers like Joyce. She lacks the same depth, sophistication, and ability to actually make the story into a narrative arc.

She claims to write about teenage, coming of age-esque, discovery yet lacks any ability to actually showcase, with empathy, the ways in which anguish at their own naïveté presupposes teenage petulance.  

She writes out the most shallow- surface level depiction of some b-plot from a bad fanfiction and wants to pretend that she is a literary genius. Yawn. 

Addendum- I am aware that “Araby” is also a story predicated on ideas of Freedom vs Colonialism. To those of you who know the story well, I hope you don’t mind I choose to focus in on the “coming-of-age" part of the story in order to more clearly connect it to Swift’s work. I am not, however, ignoring the real sociohistorical implications of poverty, colonialist attitudes, and human rights thematic points in the story. I know.  

“Araby” by James Joyce is free at The Project Gutenberg eBook of Dubliners, by James Joyce  

[lgbteca]

Although the plot promises a lot of tension, I'm not too worried for Mafin. The novela is entering its resolution phase, when all the secrets come out and the characters have nothing left to do but deal with them and move towards the climax. I think the times ahead are going to be very exciting for all the stories. The way they all intertwine is fascinating.

Marta has been building herself up for this confrontation. The Marta of the beginning would have merged with the shadows, but today´s Marta knows that returning to silence is the same as to convict herself to death. She won't do it, no matter how much she has to lose. Giving up Fina again is not an option, so we have to prepare for the battle because it's going to be tough but also glorious. Let's not forget that it was Marta who lured Fina into the bushes. There's no going back from that. 😆

I'm excited to see how the writers resolve this whole conflict and how they continue to deviate from all our theories. Fina said she was willing to face everything that comes their way and today's Marta has me believing that she will too. Whatever it takes, as Isidro said.

[devastatinglygreen]

Why do you think they're waiting for the Lady Whistledown reveal?

aside from drama? and i mean that seriously. i know everyone had headcanons and wants for years here but they're building tension. there was no real tension in part one outside of sexual and the stakes need to be higher for the penultimate episode.

the next bit is spoilers we know have been pretty much seen by too many people for ep 5 at least so wander under the cut at your own risk:

i think, and i know a lot of people aren't going to be thrilled about colin not knowing before some things happen, that they need to do two things: solidify their relationship a bit and basically send penelope into a spiral to take the stakes higher.

they have plot armor, they're not going to behead penelope right there in the queen's garden with the peacocks once she gets caught. the only thing truly up for grabs is polin. and not even that, not really, but it's the thing the audience is going to care about.

the spoilers have penelope trying to tell him but failing because she keeps getting interrupted. every time she fails, the clock ticks further. it's a pressure build. eloise is on her back. colin is just wandering along, deliriously happy and penelope knows she's carrying this bomb she's gonna blow up in his face.

she lost eloise to it. colin is the love of her life. i think we can all do that math. she's so stressed out by eloise's timeline she can barely breathe and then comes cressida.

you've got cressida taking credit for LW, colin's happiness sitting on her shoulders (tho i do think it's also so smart of them to have him defend penelope to portia before he finds out, it might give him some insight to how penelope is treated and feels when the right time comes), eloise is assuming things and giving her hell.

i mean, wouldn't you be a mess too? like, give the girl some grace her entire life is imploding right after getting what she's always wanted and never thought she'd get and losing the two most important people in the world to her only a few months before. would you want to blow that up again? yes, yes, i'm sure everyone who says "but she has to!" is very morally outraged and perfectly righteous in their own lives scoffs at the idea that penelope might struggle with a secret she doesn't know what to do with.

it's not like we've never seen how that eats her up before, right? oh. we totally have. nvm.

anyways. cressida. i kind of hope it's the turning point for peneloise because i think even eloise knows she's not a good person to have in a position of power like that. say what you want but penelope doesn't lie in LW.

add in they seem to be bringing in book scenes and i'm going to guess colin catches her after she takes off to print something saying cressida is a whole ass lie. fight ensues. angst! stakes are ridiculously high. the wedding is planned. the pedestals are knocked over and now colin will know everything. does he love her after that? can he? does he trust her ever again? (clearly yes or they're gonna need to change up that family tree thing they released lol).

this will give way to colin having to come to terms with penelope's legacy and how it affects his own estimation of himself and his writing. jealousy like the book. it's a colin issue and he knows it but he still has to deal with it.

colin very much thinks penelope is his purpose, right? the book says it. LN said it about show colin. he's gotta reconcile that LW and penelope are two halves of the same person. he can't put them both in boxes.

anyways what i mean is that the stakes need to be high and her blurting it out then having 2.5 episodes of them moping around about their LW fight isn't really the thing that gets your heart racing when you've got 8 episodes to tell the whole story.

(also as an aside, i think it's going to lead to us getting second "firsts" in a way. it's not going to be a first kiss or anything but i feel like the energy of it all will be different and i, personally, think that could be very fun)

[gingergofastboatsmojito]

It was a documentary, not a series, that's why we were not satisfied because we wanted fiction, not a docuseries.

This only solidifies my POV, which I have already gone over on the Under The Table Podcast and in many previous entries on my blog, about the whole problem with S3 being in the WR. Coming from a very solid S2 and amazing S1 award season, only made matters worse, of course.

Viewers appreciate realism, as a matter of fact the kind of audience The Bear appeals to is the kinda public that digs realism and adult content, with lots of cussing, raw directorial style, fast-paced, etc. We are not the typical rom-com or even drama series audience. The Bear became a hit show back in 2022 because its eps were fast-paced, with a dramedy quality that made it original, lots of adult language, and with a hint of sexual tension that was "promising" if explored in future seasons, that at that point were not confirmed yet. S2 was ordered in July 2022 in the middle of the momentum the show was starting to get, and shot from February to April 2023, then it premiered in June 2023, only to compete now, in this award season that opened a few weeks ago at the 76th Primetime Emmy Awards.

Meaning: the reason why S3 didn't work as expected, and the numbers back that up that is why they haven't released them yet, is because the writers were not able to write a BALANCED plot. Yes, it hit all the realistic marks in terms of mental health struggles and fine dining 7th circle of hell, but at the same time, it lost every other "ingredient" that it used to have. THERE IS A WAY to write the best of both worlds, and I certainly expected that coming from who I considered the best script writer out there, the sadist. And his right hand wired for romance, Miss Calo. They didn't do it. They disappointed me. They went all in with the docuseries' raw realism style of Carmy hitting rock bottom, which if you were really paying attention in S2 was nothing but PREDICTABLE → as I proved even before S3 premiered here and here but they didn't build towards a cliffhanger that left you wanting more, actually, 03X10 is altogether hard to watch, there's no balance like in FISHES 02x06, for instance, just one punch after the other, all below the belt, no comedy, no breather, just tragedy and more tragedy and more sense of doom and more PLEASE MAKE IT STOP! THAT'S IT, END THIS, PULL THE PLUG, STOP IT! etc... Like I said: No balance.

Storer only focused on Carmy's background story, but didn't give us anything we couldn't have figured out on our own anyway, he didn't explore Syd's background story, which should be a collection of gems and absolutely Sydcarmy friendly because the more we know about her, the better we will be able to figure out how will Sydcarmy happen and when (I already know when, but still) and he also focused on Tina's background story, IMO that was completely unnecessary as T is not a central character, what he showed there was also easy to guess anyway and could have been summarised in a couple of scenes, not an entire bottled episode, not when other characters are UNEXPLORED after 3 seasons. So basically, all the decisions made in terms of SCRIPT were WRONG. The acting was perfect, the direction was too, the soundtrack, the cinematography, all of it, but the foundation wasn't there because in the WR the creative decisions made for S3 were completely fucked up, we were served a docuseries as opposed to the fictional show with a realism bouquet we were watching the previous 2 seasons.

WE WANT TO WATCH FICTION, write it realistically, sure! BUT DON'T LOSE WHAT YOU HAVE SO FAR, DON'T MUTATE INTO A DOCUMENTARY OF ALL THAT'S WRONG IN THE MENTAL HEALTH DEPARTMENT OR IN SOCIETY OR IN THE CULINARY INDUSTRY, we already know that and if we don't, we can always tune in the motherfucking news, not FX, and certainly not Disney+. Thank you very much.

[wishcamper]

Nessian Week Day 5 - Behind Closed Doors

I meant to write a sexy, Casino Royale-esque poker scene but it somehow ended up as Cassian fangirling over his wife for 3k words so uh. Here you go.

Read here or on ao3!

High Stakes

A/N: This prompt really made me want to play with the idea of layers of intimacy in long-term relationships because a) I don’t think we have enough representations of healthy, fulfilling, functional monogamy and b) I‘ve always thought there was beautiful potential for Nessian to know and understand each other to the point where they can see all the layers of the other person, and be able to hold space for the other’s complexity. I’d just really like to believe that’s possible. So I hope that comes across. 

I’m exploring some of these same ideas in ACOVAV, my ongoing ACOSF fix-it. Questions around the character’s experiences and my own, like: what does it look like to build tension in a story and depth in a relationship without miscommunication or people treating each other badly? What if it’s two people trying their best to get close while also wrestling with their own individual shit in very real, understandable ways? What exists at that intersection between me and us? Something interesting, I think.

If that interests you too, you can read that fic on ao3 :)

---

“Mr. Archeron.”

“Marlowe. How’s she looking tonight?”

Two males stood before the door of a long-vacant tavern, sweating slightly in the night air thick and lush as it only was in summer, Velaris bursting with vitality after dark. The cobblestone streets were full of revelers who passed by without a second glance, ignorant that beyond the hidden entrance lay a world where fortunes were won and lost, where the honor of courts rose and fell at the discretion of a female known only in whispers as the Queen of Cards.

A female who just happened to be Cassian’s wife.

“A strong start,” Marlowe said as he ushered Cassian into the candlelit basement, flickering shadows belying the bustling street above. “The High Lord from Autumn has cheek, though.” 

“Yeah, Eris gets like that when he’s losing.”

They shook hands and Cassian made his way down the dim hallway, the sounds of chatter and shuffling and clinking coins drifting toward him. He could hear Eris braying high above the others, Rhys’ smooth voice giving back just as good. When he reached the arched entrance to the playing room, everyone had their backs to him except Nesta, who glanced up from her three-card hand and smiled. 

She always faced the door during games, ready to protect her players’ privacy in case someone got past Marlowe, though it had the unintended effect of giving him a moment to take her in uninterrupted. Her gown was midnight blue tonight, long sleeves in tiers of iridescent silk like a dragonfly’s wings, hair cascading over one shoulder studded with opals that turned fiery in the faelights.

A glittering queen holding court. And damn if Cassian didn’t want to go to his knees before her, still, after all this time.

“Can we get on with it or do I need to send you two to time out?” she asked the still-squabbling High Lords without missing a beat, tossing her cards in and signaling to the silver clad dealer to begin the next round before. She threw in her ante next, silver bracelets chiming at her wrist with the movement.

With some grumblings the players turned to their hands, and Cassian edged along the wall to where Emerie sat at a high table on her own, grazing on the arrayed refreshments and accounting her winnings in a worn ledger. 

“I was up and didn’t want to push my luck,” the female whispered when he nodded in greeting, giving him a sly smile. Cassian smiled back - Emerie always came out on top. He suspected Nesta was subtly losing to her friend on purpose after the female refused to let her fund an expansion of her shop. And he suspected Emerie knew it, too, but both were too proud to say it aloud. She licked the tip of her pencil and made another note. “Plus, it’s fun to watch your mate knock a few High Lords down a peg.”

“Sometimes I wonder if that’s the real game,” he confessed, and Emerie grinned smugly, wings ruffling with delight.

They observed the game in silence for a moment, allowing Cassian time to survey the other players in attendance tonight. There was an endless rotating cast of characters at Nesta’s now-famous monthly games, the invitation so coveted they’d had all manner of bribes delivered to the House of Wind by very confused messengers. Thankfully all gifts were now rerouted to a third-party location, after a lesser lord of Summer sent a dozen peacocks they’d chased about the House for hours.

There were seven of them tonight as usual, including Emerie, all faces he recognized buried in their cards around the half-moon table. Granted, it helped that nearly half the players were his wife, her best friend, and Rhys, whose pile of coin looked so pitifully low Cassian couldn’t help but smirk when he caught his brother’s eye.

“We should raise the blind,” Rhys interjected. “What's the point of playing if you’re eschewing risk?”

It still surprised Cassian sometimes that Rhys kept coming back despite showing no taste for gambling in the past. But he supposed Rhys had always been weirdly competitive with Nesta, and even though they’d buried the hatchet long ago Nesta still loved winning her brother-in-law’s money fair and square. Which she did without fail, hand over fist, with a silent pact between them not to tell Feyre.

Neither of her sisters knew, by design he suspected, and Mor was off in Montesere ‘finding herself’ again, whatever that meant. Azriel had a brief, brilliant run before his competitiveness got the best of him and he was banned for brawling at the table, one of the only standing rules. Emerie and Eris were regulars, and he’d seen the others in attendance before: broad-shouldered Megrin Stonecutter of the Velaris maester’s guild and Nuan of Dawn, who perched cross-legged in her chair, a pair of elaborate spectacles whirring on her round face

Opposite Nesta tonight sat the High Lord of Day, still radiant despite having foregone his usual golden adornments. Helion looked nonplussed by his own losing streak as Cassian watched him toss his cards face down in front of him, leaving only Rhys, Eris, and Nesta still alive in the hand.

“I fold. You all are vicious. Are you not joining us, Cass?”

“And add one more body to the slaughter? No thanks.” He’d never had much interest, content to watch Nesta splatter egos against the wall.

Megrin grunted in agreement and slid her cards to the dealer past the large pile of gold in the center. “I’m out, too. Clearly someone knows something I don’t.”

“It’s yours to call, Eris,” Rhys said breezily. “Unless you’re waiting to ask your father’s ghost for permission.”

Cassian snorted, making eye contact with Rhys again, who shot him a shit-eating grin as Eris covered his mouth with a stiff hand, brow furrowed. 

To everyone’s surprise, Beron Vanserra had been felled two years prior by an ordinary fever. No one in Autumn nor elsewhere could make sense of it - it was as if one day the hands of hel simply reached up and snatched him back into the earth. So a court that had once been destined for a bloody coup passed the crown peacefully, which was a good thing all around, though Rhys loved painting Eris as a cowardly dawdler whose target put himself in an early grave just to end the waiting.

The Autumn lord sneered at the insult, still waffling. “Some of us prefer to think about our actions, Rhysand, instead of barrelling forward with whatever scheme will inflate our self-importance the most. Stealing things from other courts, for example, books, brides -“

Nesta glanced over at Cassian then, crossing and uncrossing her fingers where they lay against her cheek, and he had to stifle the laugh that bubbled forth at the private joke, just for him. It was her signal that sexual tension was present in the room, sometimes to indicate she wanted to leave whatever function they were at, sometimes so they could share a roll of their eyes. In this case he knew she meant the squabbling lords, as many a late night they’d mused that Eris and Rhys could get past their rivalry if they just had sex about it. 

“As much as I enjoy seeing Rhysand’s self-importance punctured,” Nesta drawled when the latter opened his mouth to retort. “You can’t delay your bet with old, petty scores. We’re all rather bored with it. If you’re going to cheat, at least use some imagination.” 

She sipped at her glass of pomegranate juice, a frequent gift of affection from Helion and a nod to the other rule: no alcohol. 

Rhys’ expression flashed briefly with betrayal, but he schooled it quickly, knowing better than to give himself away. But Cassian knew Nesta’s smoky eyes clocked it before they turned to Eris. 

“I remember you once tempting me with an invitation to Autumn, to see how a High Lord plays. Is this what you had in mind?” She gestured to the modest pile of gold in front of him. “I rather think I made the right decision, don’t you?”

Emerie chuckled beside him, and Cassian felt a thrill low in his stomach to see Nesta so self-possessed, lit from within. After everything they’d been through with the Trove, with their families, a part of him wondered if he’d ever see her ferocity again, if the sharp point of that viper’s tongue would smooth over for good. 

She’d become very soft for about a decade after the Blood Rite, and they’d taken long walks through the Illyrian Steppes and the Myrmidons, swam in streams and lakes and the oceans of Summer, watched the bees drift lazily from flower to flower in Elain’s gardens in Day. It was as if she’d needed to come completely to rest before deciding what to do next. And the solitude seemed to give her a sense of clarity, but he’d been glad as fuck to be an exception to that rule, to witness the private puzzlings and support her in finding purpose in her life.

They’d only just returned to Velaris the previous spring, when the threads of family and duty pulled them home at last. Their time away was intimate and lovely, some of the best years of his life, yet Cassian enjoyed seeing Nesta confident out in the world again. The poker game had been the first of many things to draw her out, and he couldn’t wait to see what she’d surprise him with next, his strong, clever, deadly little wife.

Eris grumbled and tossed a few coins in the middle. “Happy now? Or would you prefer to seduce it out of me?”

Cassian watched her swallow the barb, which would’ve sent her into survival mode in the past and now rolled off her with barely a ripple. Leashed his own instincts to leap across the room and tackle Eris to the ground, because Nesta wouldn’t hesitate to kick him out for breaking the rules too, mate or no, and he’d miss his favorite show.

“Your luck doesn’t extend that far tonight,” she said demurely, and Cassian knew the smug prick was too stupid to see her coiling up to strike when the time was right. Nesta won the hand a moment later to groans all around, her Winter flush beating Rhys’ three pixies and Eris’ two pair, nymphs and kelpies.

“I propose a wager," Nesta declared as the next hand was dealt, her voice velvety and inviting. "The victor of the evening wins one favor of their choosing...” Eyes lit up around the table, anticipation deepening. “...from my husband.”

They all turned toward Cassian where he was leaning against the wall with an amused grin now, and he raised an eyebrow at his mate. Her eyes flashed silver where she stared back at him, and he felt her send a soothing wave down the bond, assuring him of her intent. Inviting him into the ruse. Cassian made a show of looking chagrined, shuffling his feet as he looked down.

Rhys was the first to respond, smirking. “I’ll take that bet.” 

Cassian knew he was incensed at the idea of losing, wrongly fancying himself more clever than his sister-in-law. Nesta knew it, too, and that arrogance made him play more recklessly.

“Count me out,” said Helion, winking. “You’re pretty, Cass, but my minister of finance will have my head if I lose any more.”

“Ah, why not?” Nuan flushed, uncomfortable with the attention now drawn her way, and chuckled nervously. “Not sure what use I’d have for you, dear, but who knows what worth it may hold!”

Megrin pursed her lips, sizing him up. “He has a strong enough back I suppose. I’ve been meaning to rearrange my forge.”

“Any favor of my choosing?” Eris mused, and Cassian felt the Autumn lord’s gaze roving over his body and then Nesta’s, possessive and hungry. The years hadn’t changed everything. Nesta answered with nothing but a feline smile.

The next few rounds passed in a blur of bluffs and bold plays. Nesta remained composed even on the hands she lost, an almost bored air to the way she watched the males bluster and crow. Eris' anger grew while Rhys shot daggers with his glare at her every win, turning each hand into an unnecessary battle of wills that made him play sloppy. Nuan ducked out when it became clear the prize wasn’t hers, and Megrin hung on for a while longer, bluffing her way through until her luck ran dry, to Cassian’s relief. 

One by one, Nesta outplayed them, her composure never faltering as she watched her opponents fume, each loss reigniting their fervor to win.

At last the players were down to the final hand, and the air in the hidden basement crackled with anticipation. The dealer laid down the community cards as bets went around: a wyvern, a lord, a lady, and a cave troll. Each still in signaled for new cards, Nesta tapping once against the table, her face revealing nothing. Cassian could feel his chest tighten as they sized each other up before Rhys pushed all his chips into the pot with a confident smirk.

"All in."

Unfazed, Nesta called his bet, gesturing idly at her pile for the dealer to sweep into the center with his crook. That left only Eris to decide his own fate, as well as Cassian’s.

He puzzled for a long while with his head in his hands before he finally spoke, low and deliberate. "I’ll call."

Coins cascaded into the center, a shower of gold. Then the final card was revealed—another lady. All coins in the center, it felt like everyone held their breath as the three remaining players revealed their hands. 

Rhys set down two lords, the grin spreading across his face triumphant and sure, the poor bastard. Eris only clucked his tongue and revealed his full house, ladies full of wyverns, smug despite achieving it on the last draw.

But Cassian knew it wasn’t over yet. He turned to where his wife was toying with the edge of her hand, and he’d seen that pose too many times not to recognize it at once: You Have Just Royally Fucked Yourself. Silver rolled over Nesta’s eyes, and with prim efficiency she laid down the three remaining trolls in the deck, one after another.

The room erupted, Eris upending his chair as he leapt to his feet, Rhys shouting about cheating and Helion tipping his head back to let loose a peal of laughter soon joined by Emerie and Nuan’s, by Megrin’s groan. Cassian couldn’t help the dopey grin that spread across his face, how at home Nesta looked in the sea of chaos when she winked at him, calmly piling her coins into neat stacks.

Once everyone had regained their heads they all passed a lovely hour in conversation, the air hazy from the cigarettes Nesta usually smoked with Lucien at their gossip sessions disguised as afternoon tea. Rhys departed first, claiming a return to his fatherly duties, though they all knew he was off to beg Feyre’s sympathies while he licked his wounds for reasons he’d never confess. Emerie left with a tight hug and a promise to have them up to Windhaven soon to see her new expansion, and Eris gave Nesta a begrudging bow before Helion swooped in and kissed her on the cheek. He did the same to Cassian, and they heard his warm voice echoing down the corridor, giving Eris shit all the way up the stairs.

Alone now, Cassian came up behind where Nesta was tucking a handful of coins in a pouch for Marlowe, looped his arms around her and buried his face in her neck. She batted at him but he felt her lean backwards all the same, cracking the door to that soft place within, that only her loved ones were allowed to enter. He knew she liked the affection, even if part of her still hated to admit it, if she only wanted it when it was just them.

“Wicked woman,” he teased, and he felt her smile against his cheek, the press of her nails into his forearm. “Were you seriously going to let Eris have his way with me?”

Nesta turned in his arms and he took her in close up for the first time all day, having left her snoring softly that morning when he departed for Windhaven. He warmed to see her face still relaxed and open, the ease in her posture. 

“If he won, sure.”

Cassian snorted. “I don’t know if that’s a testament to your confidence or your willingness to torture me.”

The candlelight flickered silver around them for a moment and he drew her close once more, breathing deep the vanilla and jasmine scent of her hair, the lingering smokiness. Nesta linked her hands behind his back and squeezed him hard, impatient.

“Can’t it be both? Now take me home, Lady Death is tired.”

“Is that your favor for winning, sweetheart?”

“No,” she said, eyes dancing and devious when he pulled back. “I’ve much bigger plans for you.”

And oh, she did.

They ended the night in Cassian’s favorite way, with him sprawled atop her, head pillowed on her chest, her long fingers working through the snarls in his hair he’d earned in their pleasure. The House dimmed the lights in the bedchamber that was once his, the door now warded to both their hands. Hands that bore twin golden rings and tattoos of an eight-pointed star, tokens of their promises, both his and hers.

“Goodnight, I love you.”

Nesta’s voice was thick and fuzzy, and he felt a quiet contentment on her end of the bond. It was rare for her to inhabit it in public as much as she had tonight, and Cassian remembered when her end of the bridge between them had been locked tight, impenetrable. He’d made a fool of himself trying to break through early in their love, using brute force to smash past her defenses, leaving her exposed. 

But now he knew the secret that should’ve been obvious, that he only had to knock.

“I love you, too, sweetheart.”

She smiled with her eyes closed and pursed her lips, kissing the air before sleep dragged her under.

[lurkingshan]

Hi! I love reading your opinions and I have just started The Sign. What are your opinions on the show and what route are you hoping it would take for the second half of the show? Take care and happy new year!

Hello anon! You picked such an interesting moment to send this ask. We’re halfway through the show and I think its strengths and weaknesses have become fairly clear. Let's talk about it!

Strength: The Chemistry

I think this is the thing that had all the girlies losing it right out of the gate: Phaya and Tharn are hot and their interactions are hotter. The pull and chemistry between them is palpable and the set up for their romance is compelling. Kudos to whoever found Babe and decided to pair him with Billy: you, sir or madam, are incredible at your job and deserve a fruit basket. We are all dying for these two to finally fuck.

Weakness: The Pacing

Which is why it's kind of frustrating that the show is dragging its feet on letting their relationship advance. The first four eps were delicious tension-building, but as the show starts to stall and use dream sequence fakeouts to provide smut without actual relationship development, the audience is clearly getting antsy. The show's pacing is all over the place in general, with wildly varied episode lengths and inconsistent action and plot advancement from week to week. And the desire to drag out the romance without a compelling alternative plot to fill the show in its absence is causing some damage to the characters, most notably Tharn, who is just starting to seem unreasonably antagonistic to a person we know he likes, not to mention unperceptive in his continued inability to notice what is going on around him.

Strength: Production Values

This show is absolutely gorgeous; you can tell most of the money went into making every frame of it beautiful. The strength of the production values and hard work of the crew to create the look and feel of the world was evident from the first episode with all those beautiful training sequences on the beach. And this is used to particularly strong effect whenever we visit Phaya and Tharn's past lives and see the magical world that exists around them come to life.

Strength: The Supporting Cast

The show also has a great ensemble, with Yai especially a standout character who brings a lot of fun to the show, along with his girlfriend Sand and the police squad bros. This is not surprising, as big, messy, chaotic, endearing queer friend groups are an IdolFactory staple. As of last week, we officially have a lesbian side pairing! Tharn and Phaya also have interesting family histories with sweet grandmas and loved ones who lend depth to their characterization.

Weakness: The Copaganda

It was perhaps too much to expect that this bl about cops would have a more sophisticated perspective on law enforcement, institutional corruption, and the so-called "justice" system, but that does not stop me from groaning out loud every time they pause the story to let these characters wax poetic about the nobility of their jobs.

Strength: Thai Folklore

This show is teaching all of us some things about real Thai folklore about the garuda and nara, including local customs associated with celebrating these tales, and the depiction of these stories in the show is just beautiful. Despite it basically being a tourism advert (complete with couple shirts for no reason??), I really enjoyed the episode that took us to Nong Khai and the Mekong River to see how modern Thai folks interpret and celebrate the myths at the center of this show’s story and ground us in something real.

Weakness: An Underdeveloped Take on Toxic Masculinity

This show uses violence quite a lot in its story, including violence in interpersonal dynamics, and it sometimes seems to want us to be alarmed by uncontrolled male anger, and sometimes impressed by it. At this point, Tharn and Phaya have both struck each other in anger during personal disagreements, and there hasn't been any real reckoning with the fallout of that. On top of that, the show has given us some crime cases that highlight the harm of toxic masculinity while also seeming to glorify and revel in it, most notably in the framing of a man who kidnapped and retraumatized sexual assault victims as a hunky folk hero. It's a confused take, to say the least, and I'm not sure the show has the depth and precision necessary in the writing to take on some of what it's throwing at the wall.

Strength: Villains

All I can say is Heng was born to play an evil snake god. The show has done a good job at making him feel like a real threat and building the antagonism between him and Phaya to the point where Phaya has been isolated from support and made to look crazy in front of Tharn. Dr. Slow Motion is very good at this.

So, what's the TL; DR? This show is a lot of fun, but has some obvious weaknesses in the writing, so do your best not to take it too seriously if you can. I am ready to see Phaya and Tharn get together and finally start working as a team, for the full backstory and epic battle they are waging to come out, and for the motivations of the rest of the cast of characters to become clear (I just know there are some additional past life reincarnations waiting to be revealed). It's a great time if you don't think about it too hard, and I really hope the back half will pick up the pace so that we can all just enjoy the ride.

[hashtagcaneven]

Kuro's Advice for Awesome Fight Scenes

So I heard you want to write a cool fight scene. Rock on.

Running into some trouble though? No sweat, I got you covered.

I compiled this list of 8 Rules I personally use for Kickass Action Scenes for a Discord group of writers and thought it might be useful for others as well.

Rule #1 Fight scenes MUST tell an emotional story.

A fight is just an argument but with physical violence instead of words. Just like how in a musical people talk until the energy and emotion goes so high they burst into song and then when that keeps building, they all start dancing. Same concept. People argue and disagree until the emotion is so high they start throwing hands.

Fights act like any other scene where it starts with one emotion and ends with another. Emotion should flow through each move. They should ebb and flow from start to finish, raising and lowering tension to keep a reader engaged and guessing over who is going to win.

This is the bedrock of fight scenes. No amount of “rule of cool” is going to save the scene if there is no emotional heart beating through it.

Rule #2 You need personal stakes

Goes kit and parcel with Rule #1. Your POV characters have to have something on the line to tell an emotional story.

What happens if they lose? What happens if they WIN?

Go beyond JUST “oh if they lose, they die”. What happens to the character’s world if they lose. What will happen to the ones they love when they’re gone? What are the TRUE long term consequences for failure?

Even if it's a friendly (ie non lethal) competition scene, what are those stakes? Bragging rights for a proud character? Or perhaps taking their opponent down a peg?

Avoid vague generalized stakes and find what makes it personal. A knight may fight for his king and country but he also does it because he has his pride as a knight on the line if he walks away or loses.

Rule #3 Pacing is key

Action is fast paced in real life. It should be so in writing.

I personally think of my fight scenes as if they were a movie/show/play fight scene. Partly because that’s my own personal experience and partly because it helps me with pacing, especially with multiple POV characters.

Don’t spend too long on one action. Keep it flowing but have moments of pause. Real fights have moments where someone needs to pick themselves back up or two opponents need to steady themselves for the next round of assault. Use those moments to dig into the introspection of the POV. Your reader is also gonna need a breather from time to time.

With multiple POVs, I flip through them like I’m switching shots on film. We cut away from one thing to see what another character is up to in the flow of things. I flip the camera at moments of triumph or tension to keep building that emotion.

Rule #4 Let your heroes take some hits

Show off those stakes by letting your big bad character get his ass kicked a little bit.

Let ‘em get knocked around a bit to build that tension within a reader. Make them wonder how they’ll pull this off.

Superman fights are so easy to be boring because he’s basically invincible. We all yawn because we know he’s gonna win. Then along comes someone with kryptonite and suddenly it's Superman getting the beat down. Now we’re emotionally engaged because how is he going to get out of this one?

Show their competency in a fight by how well they can take big, painful hurts and keep going anyway. Show it in how they fight back or stay standing, despite the effort.

And don’t be afraid to let your heroes lose a few times. It makes their eventual victory sweeter.

Rule #5 Be clear and concise with your descriptions

Now ain’t the time to pull out your best Tolkien describing a meal impressions.

Action is fast. There are a ton of moving parts which can be severely complex and hard to follow. You want to avoid this confusion at all costs.

Use clear, specific language so the reader can visualize what is happening in their head and not get lost. Once they get lost, they will get frustrated and disengage.

Ditch the heavy metaphors. Let the movement speak for itself as the allegory. If you want to sprinkle in some flowery language, do so separate from the actual action happening in a fight.

Rule #6 Learn the basics of movement

You don’t need to know how to swing a sword with proper technique to write a sword fight (though, let’s be real, it helps). As long as you understand the fundamentals of how the weapon moves, you can write a good sword fight.

Because what makes a fight good is the EMOTION in the fight. Not just the fancy flourishes.

However, if you go too crazy and it becomes unrealistic, your readers can easily disengage.

So you don’t need to know the difference between a riposte and an ochs stance. You just need to know that arms don’t swing that way. You need to know if someone gets pushed, it can throw them off balance.

Learn the basics of human movement, and if there are weapons involved, learn at least the basics because if I see one more person say they’re wielding a longsword like it’s a small sword, you people will kill me inside even more.

Rule #7 Every action has a consequence

When someone attacks, someone has to defend (or get hit). But when someone moves their body one way, it can open them up to a counterattack.

If I lunge too far forward and overextend, I’ve left myself open for attack. If an opponent turns around, their back is now my next best target.

Pay attention to how your characters are moving. Are they opening themselves up for easy counterattacks when you don’t want them to? 

Thinking about what opening a move gives their opponent can help you write your fight scenes, as it will lead to a natural flow and chain of events.

Rule #8 Don’t be afraid to add sound

Fights are vocal. People grunt and groan and shout when they’re hit. They also make noise when they attack. The more wrapped in emotion, the louder and noisier people tend to get as they get lost in it.

During those moments of pause you add from Rule #3 is a great moment for characters to continue the verbal part of their argument

 If one character temporarily overpowers the other, let them brag. If one character gets punched in the mouth, describe the sound of the blood they spit on the ground. 

Just, for the love of the gods, don’t go all Marvel and be quip central. Don’t undercut your own tension and emotion for a quick laugh or to sound cool.

Some examples of great fights:

[lovemyromance]

I think regardless of which side of the ship war you're on, everyone is claiming that "Ofc their development and love story is going to play out more in their book!"

And I think that's a fair statement to make 🤷🏻‍♀️ No Elriel is claiming Elain & Azriel are in love right now (and if they are, they're wrong lmao), I might've seen some Eluciens & Gwynriels claiming their respective couples are in love or whatever - but I am willing to accept that is not the general consensus of those sides.

We often see the "Why would Elain accept a mating bond in a book that's not hers?" Argument from the Elucien side. And Elriels have countered with "Well then why would she reject a bond in a book that's not hers?" but apparently, THAT is too hard to grasp for some anti-Elriels.

I think the real question is: where is the buildup?

Elain & Azriel have undeniable build up on the page. Even if you dismiss all their other small romantic moments in the background (i.e. Hybern rescue, Truthteller, "sit I'll take care of it", garden scenes), they still were about to get NAWSTY with each other in the BC.

And you can call it whatever you want (love/lust/obsession), but you cannot deny that is clear romantic build up. Whether they are endgame or not, nothing will change the fact that Elain willingly chose to kiss the Spymaster, not her mate.

Speaking of the M-word: Also undeniable: Elain & Lucien are mates. Regardless of what happens, that bond situation will have to be addressed at some point in Elain's book.

But so far, that initial "You're my mate" is the only thing that gives us any indication that Elucien is even an option. Nothing I have seen from either of them is giving "mates".

In ACOTAR, it has been very clear with both Feyre & Nesta that their mate/endgame was Rhys/Cassian. How did we know that before they were declared mates officially?

Because the build up. They had clear chemistry on the page. Even when they were avoiding each other, they weren't really avoiding each other. From the moment Feyre met Rhys and thought he was the most beautiful man, to the moment Cassian & Nesta squared off at the dining table - we could see their chemistry and attraction on the page. They left us wanting for more.

If we compare Elucien to these couples - it cannot be said that they are the same. They already know they're mates, so arguably that should be more incentive to get to know a person - but they still avoid each other. All their interactions are described as uncomfortable, forced, or dry as hell. There is no conversation or interaction between them that had me smiling to myself or excited to read more about them.

You can place the blame on Elain all you want. Say that in ACOWAR - she was depressed. In ACOFAS - she was still adjusting to fae life. What's the excuse by ACOSF? She is just quietly miserable in the NC?

If that's the case - isn't that more of a reason to reach out to her non-NC mate? Isn't that more of a reason to want Lucien, over Azriel?

We see Elain ignore Lucien at every turn in ACOSF. We see multiple characters notice how Elain doesn't want him, Elain seems wary of him, Elain avoids him, Elain loses her boldness around him.

How is that build up? Even when SJM writes enemies to lovers, even if there are XYZ things against a pairing, they still have chemistry. That is what is missing in Elucien.

You don't need to wait till Elain's book to see chemistry. They've interacted multiple times and not one of their interactions had me wanting to see more.

Elucien will not fall in love suddenly off page. No one expects that. Elriel will also not fall in love off page.

The difference is, Elriel has shown chemistry. Attraction. Romantic interest.

Elucien has not. You can argue "foreshadowing" all you want but at the end of the day it comes down to Elain & Lucien and how they interact. Do they have any tension or chemistry? No. They just ignore and avoid.

That does not make for a solid foundation for a romance book. People are forgetting these are not standalones, these are spinoffs to ACOTAR. SJM has said herself she started planting clues for Nesta & Elain's stories in ACOFAS itself.

Even when Nesta was not the focus in ACOWAR, she and Cassian still had significant moments. Even before she turned fae, she and Cassian received a bonus chapter in ACOMAF. Their chemistry was undeniable. It was almost exactly like the Elriel BC encounter - but I guess we're not ready for that conversation 🤷🏻‍♀️.

All I am saying is that Elain & Azriel have had proven romantic buildup on the page. You can believe the mating bond will prevail but what is giving you that confidence reading the current text in front of you?

If I open ACOTAR 5 come springtime (lol can u imagine what a dream) - and Elain & Lucien suddenly start interacting and it's interesting and they have chemistry with each other- great. I'm on board.

But until then, they'll never have what Elain & Azriel have. And that's mutual romantic interest.