#and how the author/reader/protagonist roles play into that

[unexpectedgeese]

Thinkin abt how ORV explores the power of stories as a tool of both the oppressor and the oppressed. Kimcom uses stories to inspire hope and break cycles, whereas the Star stream uses them to shift the narrative and keep the cycle going. KDJ loving a story enough to survive vs. the constellations consuming them as food, uncaring towards the suffering involved. HSY and crew writing a happy ending in the epilogue vs. the Star stream violently course correcting Shin Yoosung (the disaster one) into acting out a tragedy. the 73rd Demon realm dehumanizing people SO MUCH that they didn’t even have names or identities. Olympus creating Heracles AS A STORY WEAPON from old myths to convince incarnations to buy into the system and strive for the top. Gigantomachia in general tbh.

[fixated-dark-king]

Sooo, I had the amazing experience of attending a panel C.S. Pacat was part of during the Sydney Writers’ Festival on 25th May 2024. The panel was called “Creating a Monster” (with two other YA authors).

And finally a week later (because adult-ing is hard), I had time to actually go through my notes and write up some of the fascccccinating things Pacat had to say about: monsterous heroes, and villains, and enemies-to-lovers deliciousness, and queer identity!

I didn’t want to forget some of the interesting things said in this panel and thought others might be interested in hearing about them too? Please indulge the splurge. :)

(Please note that all bold headers are just my thematic summary of each section for people to jump to, not the actual question asked.)

WHAT APPEALS ABOUT ‘THE MONSTROUS’ TO PACAT:

From a technical writing standpoint, the ‘Monstrous’ is appealing because a villain will often do an act and the hero reacts to that. It gives unconscious clues to the reader that when the villain turns up, something exciting is going to happen. In that sense, villainous characters have a special sort of ever-present attention given to them (possibly because human nature is to always keep one eye on the dangerous thing that could harm you).

On a personal level: A) When queer characters are awesome but also ‘Monstrous’, Pacat says it can feel really ‘electric’ and empowering to reclaim/allow yourself to embrace the monster role that you’ve been told you fit into by society. Like in Anne Rice’s Vampire Chronicles where queer people are allowed to be beautiful/glittering & powerful & witty & have existential conversations about good and evil while fitting under the Monstrous label. Like heck yeh, that’s cool. And B) as an author, you can feel a ‘minority pressure’ to have characters be Good all the time and be the perfect ambassador for that minority, but sometimes you just want to be a vampire and take over the world, you know?

THE EXISTENCE OF ‘PROTAGONIST-CENTRED MORALITY’ WITHIN THE DARK RISE BOOKS:

When pondering whether it is hard as a writer to convince readers that a Monstrous protagonist is a likeable character, Pacat pointed out that the funny thing is that the question ‘How am I going to make readers like this monster?’ never really ends up being an issue because people actually really like monsters! The thing you might not expect is that the struggle is actually: ‘How am I going to make these readers who are barracking for the protagonist feel that this ‘monster’ is actually monstrous?’

Pacat explained that when a protagonist is also a monster, it brings into play something called ‘Protagonist-Centric Morality’ -- where you bond with that protagonist and want the best for them etc, so much that it can obscure when the protagonist is actually doing something bad. Pacat mentioned that he has found the Protag-Centric Morality fairly striking in the case of the Dark Rise books because people have said to him things like: ‘The Dark King Did Nothing Wrong Ever In His Whole Life’ and Pacat questioned whether the moral centre of the story was landing somewhere different than intended. He was curious whether the other authors had experienced that with their ‘monstrous’ protagonists too.

IF A HERO IS ALSO MONSTROUS, HOW ON EARTH DO YOU DIFFERENTIATE THAT FROM THE VILLIAN? When pondering over the distinction between a Monstrous Hero and a Villain, Pacat shared some thoughts from his lived experience. He said the times when he has felt most threatened by the ‘Monstrous’ is when that person isn’t clearly identifiable to others around you; where there isn’t a shared understanding between everyone that ‘yes, that person is a monster’. Extending from that, the Truly Monstrous is when that person has some kind of control over you and control over the narrative as well; if the monster is the one telling the story but casting you as the monster. Essentially gaslighting via ‘narrative control’.

ENEMIES TO LOVERS TROPE:

This is Pacat’s absolute favourite romantic trope. And he elaborated that he doesn’t mean that in the sense of ‘these characters sort of don’t like each other’, but rather to the point where two characters really hate each other and for a very good reason. He likes when a path between two characters feels IMPOSSIBLE to overcome.

This trope was first explored in the Captive Prince trilogy and Pacat loved it so much he just had to use it again for the Dark Rise trilogy. The planning behind it for CaPri was brainstorming: ‘What is the worst thing I could think to use?’ (Answer: Killing a character’s brother, which lands the bereaved character into a set of hellish circumstances.) But that meant when Pacat decided to use it again for DR, he had to extend that to: ‘Now I need to think of something EVEN WORSE THAN THAT (CaPri)’ in order to separate the main characters. So Pacat had to spend ages thinking about what could be the absolute worst thing to use this time -- and he hopes that he came up with something that is ‘truly, truly way worse.’ Which essentially had everyone, including the moderator, laughing loudly in fear. XD

WILL KEMPEN: FOUND FAMILY & THE LONELINESS OF INAUTHENTICITY:

Pacat spent a lot of time trying to develop a really meaningful platonic friendship between Will and Violet. It meant a lot to see a friendship like that reflected on page for Pacat because some of the most important friendships of his life were across gender lines. The reception to Will and Violet has been so pleasantly surprising, so Pacat supposed he wasn’t the only one with a hunger for that kind of friendship within the romantasy genre.

Pacat also reflected on Will’s complex relationship with his Found Family -- that having the support of a Found Family can be so essential, but in Will’s case that lifeline is undermined by secrecy, turning that Found Family into a different kind of loneliness. Because the thing is: if something so immense happens to you that you feel you can’t talk about, or you feel some way about yourself but think you can’t share that with others, it means you can’t really be your authentic self. But if you’re not being you’re authentic self, who are your friends friends with? They can’t be friends with the true You; they can only be friends with a facade/with a performance. So as long as Will is scared to show his true self and remains hiding himself away from even his friends, he will be alone. It’s a hard step to take. (Note from me: so heavvvvy but poignant.)

NOT DR-RELATED, BUT PACAT’S FAV MONSTERS FROM POPULAR FICTION: Pacat was so excited to namedrop his favourite monsters from popular fiction, he volunteered to go first LOL. The answers: 'The Brat Prince' Lestat (Lestat has been on his mind a lot recently because the AMC TV portrayal captures Lestat so well & has completely rejuvenated Pacat’s 12 year-old love of vampires. Total mood); serial killers such as in the Ripley series; and simply: American Psycho.

Great panel, right? Now it’s Europe’s turn!

[coffeetank]

Easy Narrative Techniques That Spice Up your Works

Narrative Technique is, in simple words, the method a writer or author chooses to tell their story. It includes literary and fictional devices that assist greatly in writing literature or fiction.

In this post, I'm going to go into useful details about narrative techniques and how to play them out while writing your project. Here they are:

1. Setting:

You must've noticed that in genres like horror/mystery/crime the story is set in or restricted to just one place. This has an important impact on the protagonists and characters of your story. Settings play a huge role especially in the genre of crime/horror because the plot is carried out within those premises.

For example, in the movie Scream, the whole story is carried out in the town of Woodsboro, which is significant to note as it adds more thrill given that the killer is on the loose and within very close proximity.

Settings are also vital in genres like fantasy/adventure where the conflict is carried out in an unusual environment as it creates a sense of fight-or-flight hence gripping you into the story.

2. Cliffhanger:

Cliffhangers are common, and rightfully so because they are essential in a fair amount of stories. A cliffhanger is when the author ends a chapter or a book in suspense, often hinting at event that is due in the later part of the book or series.

Cliffhangers can either introduce the possibility of a newer event, or will create a gap before something is resolved, which makes your reader want more in order to find a solution. This encourages your reader to stick by and through, until a satisfactory answer is given.

Cliffhangers are also more effective in the genres of crime, horror, mystery, adventure, and fantasy. In genres like romance or slice of life, cliffhangers can be used, but it needs to be ensured that it doesn't deviate from the light-hearted mood of the story.

3. Multiperspectivity:

This one can be so interesting if used right. Multiperspectivity, as the name suggests, is when there are more than 1 or 2 perspectives in the story.

This pumps up the interest factor as different characters will see things differently. When you show the story being carried out in a variety of POVs, you give your readers the chance to read the story in a new light with every character.

This can also affect the plot, as different characters will have different goals by the end of the story. Multiperspectivity can also help you resolve conflict between different characters. In addition, you can use this to introduce a hidden villain/a hidden hero.

4. Sensory Detail:

Sensory details are the visual images you create for your readers while writing descriptions. This helps in the famous ‘show, don't tell’ and sensory details will visualise the scene for your readers.

This can also be paralleled with imagery (sight, touch, sound, taste, smell).

For example, imagine a hilltop. Instead of just writing about the fact that you see trees and the sun and some animals, you could put down your senses to make the description more visual. It would go like – “As she stood on the hilltop, her eyes took in the verdant swathes before her. The soft breeze tickled her skin while she basked in the warmth of the sun. Deer galloped across the lush, green grass, calling and prancing in carefree freedom. The scent of the earth hit her nose, and it was there that she felt she was home."

5. Foreshadowing:

It's common, it's effective, it's fun. Foreshadowing is when the author is implicitly trying to hint at a forthcoming event. It creates a suspicion in the reader's mind, which keeps the interest alive.

Foreshadowing and cliffhangers can be mixed to create a lot of questions in your reader's minds, which further keeps them hooked into your work.

6. Analepsis & Prolepsis:

Fancy words for plain terms. It's nothing but flashbacks and flash-forwards.

Analepsis (flashback) is when the author breaks the chronology of the story to bring light to an important event in the past. This either has an impact on the plot or the main character.

Prolepsis (flash-forward) is when the author breaks the chronology to go into the future. This can be used to highlight an important event (or events) that are likely to happen in the future.

It's important to note that these are not the same as time skips, which are just a leap from one time to another to not lose grip of the eventfulness of the story.

7. Chekhov's gun:

Chekhov's gun keeps your writing in check. Chekhov's gun is a principle that says any and every element in a narrative should have a purpose. If it doesn't, it get's removed.

Let's say you've introduced a character. Chekhov's gun requires you to assign a purpose to that character. Unless they are contributing to the story, they are useless. If they can have any sort of impact, then you keep them. If they don't, then they get executed from the plot. The same thing applies to objects as well. If your protagonist has found a box, something better come out of it or it's getting thrown in the trash.

8. Title Drops:

We love these, let's be honest. As the name suggests, title drops are when the author writes the name of the title in a line, or adds it in a dialogue, or uses it as a description to finish the story with a cherry on top.

Example: In the 90s romcom She's All That, there's a scene during their prom preparations where two guys are rapping and one of them says, "she's all that" as lyrics. This is a title drop.

9. Antithesis:

Antithesis uses two opposite ideas and puts them together to amplify the message you're trying to send. Antithesis can be done in two cases: contrast and parallelism.

With respect to CONTRAST, antithesis uses two polar opposites to highlight a certain point. For example: "In an instant, all the colour was gone. He was left with black. He was left with white." Here, you have ‘black’ and ‘white’ being used as opposite colours to signify the lack of vibrance.

With respect to PARALLELISM, antithesis puts forth a contradiction but in parallel structure. This means that the grammatical structures of your opposite phrases/sentences are the same. For example: "He was left with black. He was left with white." These two sentences have the same grammatical structure. Infact, the only difference between these two sentences is the colour, but then it amplifies the message.

I hope this helps those reading this. If you're a beginner or even stuck with your work, try implementing some of these to help yourself!

- ashlee

[tls12lessthan3]

So. orvs metatextual nature and gay jokes. orv is an action fantasy book, a genre designed primarily for men and starring men. now most of these books are not gay, but there is often a tendency by audiences (particularly female audiences) to see some level of romantic tension between male characters. orv is no exception to this. some authors respond with outright hostility when they see fans shipping their male characters, and some simply ignore it completely - but some go the route sing shong does, and play it for laughs. before i go any further, i would like to clarify a term i will be using - shippers. while this literally refers to readers who think there is romantic potential between two characters, i will be using to specifically refer to instances where those two characters are of the same gender. im doing this because i cant think of a more elegant word to be completely honest, and this is tumblr meta so who cares.

orv is a metatexual narrative which is aware of its genre and aware of its readers. those readers are represented in the narrative, and sing shong knowing that fans would see a possible relationship between kim dokja and yoo joonghyuk made sure to represent that too. so we get uriel, the fujoshi angel who is constantly reading into kim dokjas and yoo joonghyuks relationship in a way that is often played for laughs. now ive certainly seen worse depictions of ‘shippers’. uriel is treated with affection by the main characters, who genuinely like her (and the fans she represents by association). her love for joongdok is implied to come from her having a crush on her friend and projecting, which i see as a kinder depiction than the usual ‘slavering fujo’ trope. 

and perhaps most importantly her engagement with the story seen as just as deep as any other reader if not more so! uriel is one of the characters we see most changed by kim dokjas story - in every other universe shes a fierce and furious warrior, and while she never hesitates to kick ass in this round either, kim dokjas story has given her a solace that has made her significantly softer. she helps him out sooner than any other constellation, saving his ass in many ways during the demon world arc, demonstrating a deep investment we are clearly meant to be grateful for. wherever it comes from, uriels engagement with kim dokja’s story is shown to be a genuine and deep one appreciated by the characters. through this sing shong is almost directly speaking to the shippers in the fanbase who are often mocked or disregarded, saying that their love for the story is important too, wherever it comes from. i see this as sweet, and i like that unlike so many other authors sing shong recognise the role shippers often have in a story’s success.

however, i hesitate to give sing shong too much credit. because along with the genuine appreciation of uriel as a character and all she represents, there are jokes mocking her and those like her, and there are a lot of them! like i said above, sing shong wrote orv as a metatextual narrative that engages not just with the genre but with the genre’s fans. sing shong knew that people would ship their characters, as that is what happens with books like orv. and so they wrote in many jokes about it, jokes based around the ‘silliness’ of those who would assume kim dokja and yoo joonghyuk have romantic feelings for each other. and given orv’s metatexual nature, this also mocks the nature of shipping itself. when someone assumes kim dokja and yoo joonghyuk are together and they react with disgust, as frequently occurs in the earlier parts of the novel, we are meant to laugh not just at the misunderstanding - really, these guys gay, how silly. but we are also meant to laugh at the idea that these Protagonists are homosexuals, and at the people who make those assumptions. its a simultaneous acknowledgement and mocking of the queer undertones of both this story and it’s genre.

so you get this overall impression of a narrative that ultimately loves all of it’s readers, including shippers, but also isn’t afraid to say it thinks all that gay stuff is kinda silly. and while ebook edits have largely removed many of these gay jokes, an undercurrent of this still remains. from what i know this largely reflects sing shongs actual opinions at time of writing, whether or not they have changed later on. 

dont get me wrong, i love orv, i love joongdok, i love their relationship and i do read it as romantic. i too read the scene where lee gilyoung insists kim dokja is into men and kim dokja responds aghast and gone ‘haha, gay’. as a queer person in the webnovel scene i am no stranger to taking homophobic moments like that and reclaiming them, making the characters queer and pretending the author is laughing with me and not at me. im not trying to preach to anyone here. but i also think its important to acknowledge the conversation orv is having here - its valuing of shippers and its mocking of queerness, and where they overlap.

[bryngmemoney]

✁FASHION FLIRT✃

Megumi Fushiguro x Reader

⭑story masterlist link

tw: none that i know

Writing in between messages!!

🪡Chapter Four: Leaf

Maki’s POV for these first 2!

Nobara sat against the park bench, staring at the lest message sent by Yuta. She looked up again to see Yuji waving his arm to the left, as Junpei stood behind a propped up camera. Although covered by the shade of the tree above her, the noon sun blaring onto her phone screen bothered her as she struggled to read what was displayed on it. Farther up she could see Megumi hiding in a group of bushes holding up a scarecrow, that had been DIY’d into a monster prop, and Todo who she guessed was supposed to be acting scared right now. It looked crazy to any on-lookers, but not like any of them really cared.

“Hey Yuji!” She called out, earning the boys head to whip back in reaction. “How much more is this gonna take? I need to be out of here before three.” Yuji looked back at her confused, “What? You said you were free all day?” Nobara simply shrugged in response, “I didn’t think it’d take this long,” granted, they had been there since 9 this morning but only because of Yuji’s indecisiveness on scenes.

“Can we just hurry up and get this over with?” With that Yuji turned back around to look at Megumi, who for the past thirty minutes had been shoved into plants while having to hold up the prop. Although Megumi played the main protagonist in Yuji and Junpei’s indie horror film, due to the limited amount of people they could find everyone had to double up on rolls. Just his luck that since he was the main role he didn’t have to do much than memorize his lines, but in the few scenes he wasn’t in, he had to do tedious tasks like this.

Nobara just sighed in defeat, regretting not taking Mai’s offer on going with her to the cafe across the street to grab a quick drink.

You walked next to Yuta down a concrete pathway, tracking Nobara’s location on your phone. “It says she’s-” you were cut off by a sudden force crashing into the side of your shoulder. You stumbled forward a bit hearing Yuta let out a gasp at your sudden push. You turned around to look at the aggressor only to find a familiar face.

“And what are you doing here?” asked none other than Ryomen Sukuna. Knowing him, this was probably his way of giving you a ‘polite hello’. “Walking, watch where you’re going next time,” you replied, only earning a huff of a laugh from him.

“Y/n! Yuta!” called Nobara, you looked to find her running up to you guys. “Hey Nobara!” greeted Yuta beside you. She turned towards you smiling, however it dropped once she saw Sukuna. “Ew.” In response, he only rolled his eyes. “Well let’s go guys, don’t wanna be around him any more than I need to.” She was about to start walking away, until yet another person called out, but this one with less enthusiasm. “Nobara, get your bag because I am not carrying this around.” You saw him walk up reaching out his arm with the purse you always saw your friend with. Yuta first to speak up greeted him with a ‘hi fushiguro’, followed by a ‘What’s up Megumi,” from Sukuna.

Once Nobara grabbed her purse, he looked passed her at the others, greeting a small ‘hey’ and immediately noticing you along the two. In response to his stare you gave him a small smile, “Hi, y/n l/n.” It took him a second but he managed out a second ‘hey’ except this one directed at you. “You’ve got something in your hair,” you pointed out.

Instinctively he tried to get it, yet missed. In a helpful manner you went to grab it, he was less than an arms reach away anyway, and took the small leaf out.

…

“Thanks.” “No problem.” “Okay, thanks Megumi, bye now.” Nobara said, turning to face you and Yuta once again. “Let’s go i’m hungry, have not eaten anything all day!” With that you three started walking off. “Bye Fushiguro nice seeing you!” Yuta added. You gave a simple wave back, watching Sukuna turn away, and Megumi reply with a small lift of his hand.

Author’s Note: more megumi very soon guys 🤗 also a little plot building ig, but I hope you enjoyed!

still having taglist problems trying to fix it the best I can but hope it’s working!

Taglist below, feel free to comment or dm me to be added!!

TAGLIST

@iridescentrays @gumimegz @maya-maya-56 @mamafly @lunavixia @swissy23 @coltsgf @m00nglad3-mp3 @etsukis @xosren @qtnfer @oengleli @harek89 @y-sabell-a

[lintwriting]

How to Write a M/M Romance: Scum Villain's Bingqiu

Where Masculinity and Teacher/Student Intersect

Teacher Student Romance is the APPEAL, NOT a Plot Convenience

Easily the most problematic part about Scum Villain (beyond the dubcon papapa to save the world) is the teacher/student relationship baked into the main romance of the work—the one between Shen Qingqiu and Luo Binghe. Not only is it pervasive, it's not even brushed aside for the reader to forget about, the way the problematic aspects of other medias often are.

In fact, unlike the way age is brushed aside in fantasy dramas that have "teenage protagonists" for marketing reasons, such as The Vampire Diaries or Re:Zero, where the age is only there to draw in a teenage audience and otherwise the characters act like young adults, Scum Villain's Teacher x Student is purposely highlighted in a way that makes it clear that the dynamic is part of its main appeal.

For one, Luo Binghe's main form of address for his romantic partner is "Shizun," calling him teacher in a super respectful, almost worshipful way. This is the opposite of weakening the unbalanced dynamic. It's elevating the Teacher/Student power imbalance (in ways that make the reader suspect it's a kink thing for Luo Binghe LMAO).

For two, Shen Qingqiu is cognizant of how bad it looks to be called Shizun in a romantic context, feeling textually weirded out when it happens during romantic relations. Despite this, most of the ways he shows affection to Luo Binghe are very paternalistic (milf-coded), such as scolding him in fond exasperation or kissing him on the forehead like a father. In addition, Luo Binghe is specifically noted for not having older male authority figures in his life other than Shen Qingqiu, as his adopted mother was a single woman and his bio father could not care less about the son his late wife gave up her life for (seemingly for no reason, BUT I'll get to that in a different meta) (AND despite ample evidence that he CAN be a good father to Luo Binghe's cousin).

And while one aspect of it is that the Shizun/disciple dynamic is a genre-wide trope thanks to the influence of the early work, The Return of the Condor Heroes, wherein the Confucian taboo of the teacher/student romance is a source of tension and excitement within the novel, I wouldn't say that that's the whole of why Scum Villain (SVSSS) emphasizes the teacher/student romance.

Why are We Hot For Teacher: Return of the Condor Heroes vs Scum Villain

For one, within Return of the Condor Heroes, the romance is between a male student and a female teacher (because it's a het novel, lol), but SVSSS is a BL novel and wouldn't necessarily need to play into such tropes to create this "taboo"-evoking tension.

A lot of BL novels already play into the way being gay is marginalized or frowned upon to accomplish this, for instance, SVSSS's author's latter work, Mo Dao Zu Shi (MDZS) (The Grandmaster of Demonic Cultivation), wherein the main character has compulsory heterosexuality.

For two, the dynamics of the Return of the Condor Heroes is playing with heteronormative ideas about the roles of men and women in romance. It's notable that the student is the male lover, and the master is the female lover in this relationship, playing with non-traditional ideas about who is submissive and who is dominant—while simultaneously using it to reaffirm traditional pursuer/pursued dynamics.

This male pursuer/female pursued dichotomy is not usually explicitly stated within media as that can seem sexist and clunky, rather it is usually implicit and portrayed through various contrivances. Xiaolongnu is a "cold beauty" who therefore must remain pure/aloof, which is accentuated by her role as a teacher, and while she is "dominant" as the teacher setting the terms for their relationship, it's mostly to emphasize the lengths that Yang Guo, the student, would go to pursue her. He becomes extra romantic for pursuing her while accepting her lead on choices like separating for 16 years.

In addition, the teacher/student relationship is a contrivance that affirms society's implicit bias about gender by giving textual, non-gendered excuses for the man to pursue. In this case, it would be an abuse of a teacher's power for Xiaolongnu to make the first move. Thus, traditional gender dynamics where men are the ones pursuing women are reaffirmed without making clunky statements about gender, even through nontraditional dynamics like a teacher/student relationship where the woman is dominant.

But, again, SVSSS is a BL, so the two main characters are both men, meaning there is no societal answer on who should be pursuer and the pursued. However, it is notable that SVSSS does play with this same dynamic of "cold, aloof teacher" and student who would go to extreme lengths to pursue them, while also purposely describing Luo Binghe as the "peak of masculinity."

This is where we start getting into SVSSS's intersection between Masculinity and the teacher/student relationship.

Because while although Condor Heroes uses the teacher/student relationship to affirm the heteronormative dichotomy of the male pursuer/female pursued, SVSSS's usage of this dynamic is in service of satirically demonstrating the "acceptable" avenues of affection when living as a man (since there's no women, and they're both men lol).

Teacher/Student Romance as a Way to Escape Restrictive Masculine Gender Roles

Teacher/student dynamic is a huge aspect to SVSSS because it’s a way to escape the masculine gender roles critiqued within the work. This is on the face of it obvious. Shen Qingqiu lets Binghe act bizarrely clingy under the assumption that he’s merely taking care of a filial or needy child. The understanding that "masculine men have to be straight" and the understanding that "Binghe is the most manly person within the novel as the stallion protagonist" intersect to ensure that any affection between them is strictly platonic, which is a double edged sword.

Because Shen Qingqiu allows Binghe close to him with the reassurance that Binghe HAS to be straight (a surprisingly common way for straight men to interact), that means that as Binghe ages, his access to affection will also get cut off, since he's supposed to be aging out of the role of a clingy student and into the role of stallion protagonist.

This is even grafted onto the scum villain/protagonist dynamic, as exactly at the point where Binghe's on the cusp of becoming an adult, Shen Qingqiu is forced to be the opposite of affectionate and become the villain by throwing him down into Xianxia hell. Which, to him, means that he's killed his baby student and replaced him with a stallion protagonist out to take him out.

So when Binghe becomes an adult, he loses access to affection along two axises within Shen Qingqiu's mind. The first being that he's now vengeful stallion protagonist out to get him throwing him away, which is the explicit reason Shen Qingqiu rebuffs him. And the second being that he's now a straight adult man who isn't supposed to get affection from his old teacher, which is also a factor.

This loss and transformation into a protagonist causes him to become insane to almost comical proportions, indiscriminately killing people and so distraught that at any point he's liable to self-destruct—all because he's constantly being rebuffed when seeking affection from his teacher, who thinks he wants to take him out for throwing him into hell. It's notable that any time Shen Qingqiu rejects him, Binghe lashes out in an almost stoic anger, rather than with the vulnerable crybaby tears that Binghe used as a kid. All this is highlighting the consequences of toxically masculine gender roles—where a severe lack of emotional vulnerability creates only violence and status as ways to express yourself, leading to severe emotional issues.

Now this is where it gets to the satirical aspects. Because all that before is pretty angsty and not very funny, but Scum Villain is a comedic satire. This is because it's not from the perspective of Luo Binghe—it's from the perspective of Shen Qingqiu.

The Point of Scum Villain's Meta

To all of this, Shen Qingqiu is totally oblivious, as he is still under the impression that everything was platonic. Which I'd argue he SHOULD be, considering that Binghe was a young student in his care that he was only trying to groom into being nice, person not into a sexual relationship 💀💀. Now, the ethics of fiction about raising your spouse is a whole other issue outside of the scope of this discussion, but within the universe of Scum Villain, where we know his intentions, he gets the pass from me!

The reason Shen Qingqiu is oblivious is because one, as the most terminally online hater on the Internet, he's read about stallion protagonist Luo Binghe way before transmigrating into the story. And the Luo Binghe of the original story was a miserable sack of shit who got an unhappy ending despite being the peak of what masculinity "should" be.

A harem of women to show his virility, a stoic facade, and a constant stream of face slapping for hundreds and hundreds of chapters. He's an alpha male to the point of farce because Airplane needed to appeal to the lowest common denominator of teen boys on the internet—Andrew Tate's main demographic. It's not just a satire of YY novels—this, too, is part of Scum Villain's critique of toxic masculinity.

The second reason Shen Qingqiu is oblivious is because he's homophobic, sexist, heteronormative, etc. etc. etc. He was an INTERNET TROLL for a reason. And while people like to joke that he was a feminist king on the forums, I feel like it's more in line with the themes of the story to take him reading this schlock at face value because it's part of Scum Villain's trap! Anytime you feel like complaining about Scum Villain's hack writing, you're one meat bun away from an uno reverse card. The instant you start complaining, the author can hit you with a "Cucumber-bro calm down," and BOOM you're done! Never comment again!

And this is so effective because none of us want to be an un-self-aware, terminally online, trash-reading hater like him.

So, the satire of the novel is taking this kind of guy—both the Andrew Tates of the world and his basement dwelling followers—and wondering "Would gay sex fix them?" And the answer is YES, WHICH is HYSTERICAL to play straight in a romance like this. It's "Fellas, is it gay to like women?" but make it into an actual romance.

On a thematic level, being gay is indeed antithetical to a masculinity that upholds having sex with tons of women as the ideal, so it's doubly poignant for this closeted gay man to realize that the only thing he needed to do to live was to accept himself and the people around him by giving up his need to fit them into boxes—both on a meta "they're not fictional characters to him anymore" level, but also on a "toxic masculinity shouldn't define us" level.

Climaxing

The old Shen Qingqiu is dead. Long live Shen Qingqiu. Gay sex to save the world. Luo Binghe is back to his crybaby self. All is well in the world.

One thing I love about this teacher/student romance that it portrays Bingqiu afterwards as really happy and in love. Logically, nothing about that makes sense — 45 year old stepfather marries 25 year old stepdaughter from a bad home who idolized him, even while he acts like he's embarrassed to be around her and encourages her helplessness—but it makes perfect sense because it's a perfect marriage between all these different layers.

The "bird leaving the nest" conflict

Qingqiu is allowed to be affectionate with a scary adult Binghe because Binghe can be both a clingy student and an adult

2. The scum villain/protagonist conflict

Binghe never wanted to kill Shen Qingqiu, only to be loved by him.

3. The comphet conflict

Binghe never intended to go out and get a harem of women as a sign of masculine status, he just wants to be gay with Shen Qingqiu.

4. The "should I treat them like real people or fictional characters" transmigrator conflict—

Binghe is a real person separate from the character of Luo Binghe because he's no longer that unattainable masculine ideal—he's human and happier for it.

All solved with a student/teacher relationship in service of critiquing toxic masculinity. Now that's economical writing!

(I love the inclusion of the original Luo Binghe meeting them in the Extras, and that Luo Binghe is pretty evenly matched with him. I feel like the idea that someone "is automatically stronger with the power of love, and therefore that's why love is better" is pretty shallow, as it plays into the toxically masculine idea that strength is all that matters. Luo Binghe may not be stronger than the toxically masculine ideal version of himself, but he doesn't feel the need to be because he's happy the way he is. And his ideal self is jealous of him for that—not vice versa.)

On their own, these resolutions would probably still feel as creepy as Lolicon, but in the context of critiquing masculinity, it makes a lot more sense. Masculinity, I think, fascinates as a writing tool because there's a lot of mini tools baked-in its structure, like Shen Qingqiu's comedic plausible deniability thing, as well as assumptions about power.

For instance, since Binghe is quite literally the God-emperor of his world, it feels more like a kink thing for him to call Qingqiu Shizun, and not like he's actually less powerful than Shizun in their dynamic. His bouts of learned helplessness come off as traditionally feminine Sajiao, NOT like the learned behavior of creepy pick-me pedophilia. It's like a cat showing its belly, because we all know it's a murder machine showing its vulnerable side out of trust, not because it feels the need to degrade itself. So, while his behavior emphasizes the Teacher/Student imbalance, the reality is that he's doing it mostly for kinky reasons and that the two of them are on a pretty level playing field. It's extremely funny when people joke that he and Qingqiu are the same age due to all that time Qingqiu spent dead, because they are Not Wrong.

Problematic Kinks

Romance fiction is usually about ways to get certain needs met in ways that would never be possible in real life, which is why a lot of it is problematic. Virginity kink is not about real life virgins, but the idea that your partner is guaranteed to think you're competent in bed. Bodice ripper stories do not reflect the reality of getting raped, but is more about the idea of getting sexually satisfied with none of the shame of "being slutty" for desiring sex, since it was "against your will." Or they're about controlling the fear of getting raped within this safe romantic fantasy where everything turns out all right. Or various other things because kinks are personal.

Shen Qingqiu is the perfect example of this, where he functions as a great insert for female readers who might have shame around sexuality, since he's a "prude" without actually being one, hence his parallel with Xiaolongnu. Instead, he's just comedically under the misconception that he's straight or that Binghe's only platonically in love with his teacher—that's why he's always ashamed and putting on airs. It's a comedic/unrealistic version of comphet, so you don't gotta think about purity culture while reading your silly little stories.

And Luo Binghe is the self-insert fantasy of readers with daddy issues. His strict father who criticized him all the time actually secretly thought he was the bestest-westest, most handsomest boy in the whole wide world, and there was a secret understandable reason he had to be mean to him, and he secretly loves when he acts like a crybaby because that just means an excuse to pamper him.

And while in real life, many of these would be incredibly dysfunctional—within fiction, we can make these fantasies work anyway. If your romance manages to hit at one of these underlying desires in a fantastical way, you've got a hit with one audience of people! Whether that be by making them EVEN MORE dysfunctional (papapa to save the world) or by having them somehow communicate it out into a healthy dynamic (the extras, presumably).

All this to say, if you're a man frustrated with your love life, all you need is a gay, milf-y male teacher to ruin your life.

[flowerandblood]

Inside Alphabet

Inspired by the NSFW Alphabet, I decided to create my own, with a slightly different function − to give our characters a better look inside their heads.

Often chapters alone don't manage to describe everything (the author also sometimes doesn't have the space or strength to do so) and it's also nice sometimes to establish certain things and canons from which readers can learn something interesting.

I decided to make one for my favourite characters and I'm also publishing it as a template, if anyone feels like using it for themselves, go ahead! You can tag me, I'd love to read how you use it for myself.

A = Anger (do they get mad and how they react to it)

B = Behavior (tics, reflexes, things specific to them)

C = Crying (whether they cry & do what when someone else cries)

D = Despair (who they seek help from first)

E = Enemy (who they hate or argue with most often)

F = Friends (do they have and who they consider friends)

G = Gifts (whether they like gifts and give them themselves)

H = Hobby (what they do for pleasure in their free time)

I = Idol (their role model)

J = Jokes (how they react to jokes and if they laugh)

K = Kids (do they want to have them)

L = Love (anything to do with falling in love)

M = Manners (how they behave in formal situations)

N = Nightmare (their worst nightmare)

O = Origin (their childhood)

P = Proximity (what they are like when they are intimate)

Q = Quiz (whether they like to play and how)

R = Routine (do they have a daily routine and what is it)

S = Safety (whether and where they feel safe)

T = Touch (who they allow to touch and how)

U = Unforgivable (things they would not forgive)

V = Vengeance (whether they are vengeful and how)

W = Warderobe (what they wear, what style they have)

Y = Yearning (whether they yearn and how they express it)

Z = Zone (their comfort zone)

Let me know which of my characters you would like to read about first, they can be both male and female protagonists!

[hayatheauthor]

The Dos and Don'ts of Writing Flashbacks in Fiction

In the realm of storytelling, flashbacks serve as powerful tools that allow authors to delve into their characters' pasts and enrich their narratives. However, crafting effective flashbacks requires finesse and precision. In this blog post, I will explore the dos and don'ts of writing flashbacks in fiction.

Understanding the Purpose of Flashbacks

Flashbacks play a crucial role in fiction writing, offering various benefits that can elevate your storytelling to new heights. Let's examine the primary purposes of incorporating flashbacks into your narrative:

A. Emphasizing Character Development

By utilizing flashbacks to unveil a character's past experiences, traumas, or significant events, you can offer readers deeper insights into their motivations and actions in the present. This creates multidimensional characters, making them more relatable and compelling to your audience.

Example:

In J.K. Rowling's "Harry Potter and the Order of the Phoenix," the flashbacks showcasing Severus Snape's troubled childhood and his complex relationship with James Potter help readers understand his motivations and the complexities of his character. 

B. Building Emotional Depth

Well-crafted flashbacks have the power to evoke strong emotions in readers. When you transport them to a pivotal moment in a character's past, you intensify their connection to the character's journey and the overall storyline.

C. Advancing the Plot

Flashbacks can serve as valuable tools to reveal crucial information that propels the main plot forward. They can provide context, clarify mysteries, and offer insights that impact the present-day events in your story.

Example:

In Gillian Flynn's "Gone Girl," the well-timed flashbacks provide readers with essential information about the characters' pasts, which ultimately shapes the unfolding events and twists in the narrative.

Understanding the underlying purposes of flashbacks allows you to harness their potential effectively. Before incorporating a flashback into your writing, consider how it contributes to character development, emotional depth, or plot advancement.

Dos for Writing Flashbacks

Now that I’ve covered the significance of flashbacks in fiction, let's explore the essential dos to ensure your flashbacks are compelling, seamless, and effective:

Seamlessness and Clarity

One of the key factors to keep in mind when writing flashbacks is to ensure they are seamlessly integrated into your narrative. Avoid abrupt transitions that can confuse readers. Instead, provide clear cues or signals to indicate that a flashback is beginning.

Utilize phrases like "In the past," "Years ago," or "I remember when" to smoothly introduce the flashback. Another tip is to employ italics or a change in font style for the flashback section to set it apart from the present-day narrative. 

Relevance and Significance

Every flashback should have a purpose that contributes to the overall story. Avoid incorporating flashbacks solely for the sake of backstory or exposition. Each flashback should offer valuable insights into the characters, their relationships, or the plot.

If your protagonist is struggling with trust issues, a flashback depicting a past betrayal or a moment of broken trust can add depth to their present-day challenges. 

Engaging Descriptions

To immerse readers in the flashback scene, use descriptive language that brings the past to life. Engage the senses to paint a vivid picture of the setting, characters, and emotions.

Instead of stating, "She was scared during the incident," show the fear through actions and sensations: "Her heart pounded against her chest, and her hands trembled as she clutched the edge of the table."

Limitation and Balance

While flashbacks can enhance your story, overusing them can disrupt the narrative flow. Limit the number of flashbacks and their length, ensuring they complement the main storyline without overshadowing it.

If your novel spans several years, consider using only a few carefully chosen flashbacks to highlight the most impactful moments in your character's past.

By adhering to these dos, you can create seamless and impactful flashbacks that add depth to your characters and enrich your narrative.

Don'ts for Writing Flashbacks

As with any writing technique, there are pitfalls to avoid when incorporating flashbacks into your fiction. Steering clear of these common mistakes will help ensure that your flashbacks enhance your story rather than hinder it:

Avoid Info Dumps:

While flashbacks are an excellent tool to provide backstory, be cautious not to overwhelm your readers with lengthy info dumps. Instead, sprinkle relevant information throughout the narrative to maintain a steady flow.

For example, rather than presenting all the details of a character's childhood in one extended flashback, reveal crucial information gradually through dialogue, memories, or short flashback snippets.

Steer Clear of Randomness

Ensure that each flashback is purposeful and directly contributes to the understanding of your characters or the plot. Avoid including flashbacks that feel disconnected or irrelevant to the central storyline.

For example, if your story revolves around a murder mystery, avoid incorporating flashbacks that focus on unrelated events unless they have a direct impact on the mystery's resolution. A flashback scene about a suspect’s childhood friendship with the victim might seem relevant, however, unless this flashback reveals a new dynamic outside of what is already established it might not be important.

Mind the Chronological Order

It is essential to maintain a clear and coherent timeline when using flashbacks. Confusing readers with inconsistent chronology can disrupt the flow of your story and lead to misunderstandings.

For example If a character's flashback reveals a traumatic event, ensure that it aligns with the character's age and the sequence of events in the present-day narrative.

Minimize Flashback Within Flashback

While flashbacks can be a valuable tool, nesting multiple layers of flashbacks within each other can become confusing and disorienting for readers. Limit the use of "flashback within flashback" techniques.

Instead of presenting a character's memory within a flashback itself, narrate the original flashback and then transition back to the present.

By avoiding these pitfalls, you can ensure that your flashbacks remain engaging and seamless, enhancing your storytelling rather than detracting from it.

Techniques to Enhance Flashback Writing

To master the art of writing flashbacks, consider employing these techniques that will make your flashback scenes more engaging and impactful:

Show, Don't Tell

As with any narrative element, "showing" rather than "telling" is a fundamental principle of good storytelling. Use descriptive language and vivid imagery to immerse readers in the flashback scene, allowing them to experience events alongside the characters.

For example, instead of stating, "He was heartbroken when she left," show the heartbreak through the character's actions and emotions: "He clutched the crumpled letter in his trembling hands, his eyes welling up with tears as he read her farewell words."

Blend with Character Voice

Maintaining consistency in narrative voice during flashbacks is essential for preserving the authenticity of the characters. Ensure that the language and tone used in the flashback reflect the character's voice at that particular moment in their life.

This is especially important for childhood memories. If your protagonist is recalling a childhood memory, the language and narration style should match their age and level of maturity at that time.

Foreshadowing and Subtlety

Use flashbacks strategically to foreshadow future events or provide subtle hints about upcoming plot developments. This technique can create a sense of anticipation and intrigue in readers, keeping them engrossed in your story.

For example, in a mystery novel, a flashback showing a brief encounter with the antagonist before they become the primary threat can add suspense and anticipation for the eventual confrontation.

Break the Rules Intentionally

While it is essential to follow the dos and don'ts of writing flashbacks, there may be instances where intentionally breaking the rules can create unique storytelling effects. For example, if your protagonist suffers from memory loss, using fragmented and disjointed flashbacks can mirror their confusion and contribute to the overall atmosphere of the story.

By incorporating these techniques, you can craft vivid, emotionally resonant flashbacks that deepen your readers' connection to the characters and enrich your narrative.

I hope this blog on The Dos and Don'ts of Writing Flashbacks will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[secondhandsorrows]

Keys to Crafting Characters Readers Will Root For (w/ some examples)

As a writer and while making up this blog, I’m quite adamant that characters are just as important (if not more) as plot. In the grand scheme of things, an active, relatable, and engaging main character is crucial for a novel's success. But how exactly do we make a character all these things? There’s many ways, in fact. It is up to us as authors to keep track and manage the developmental arc of our protagonist: primarily, who they are on the inside, and how they grow or change / adapt to the situations or people around them. 

Here are some examples and tips to help you develop a compelling protagonist (or all kinds of characters). Keep in mind these tips are at their most basic, essential level (there’s just so much that can be explored in each one), so I hope to go further into each point sometime in the future. 

~`* They have clear goals and motivations.

First things first: you’d want to clearly define your character's goals and motivations — and the sooner, the better. Proper and well-set goals and motivations provide a sense of direction to the narrative. They should be specific, measurable, and achievable — or perhaps, not achievable, at least to its fullest extent. This would ultimately depend on the type of arc or ending you intend to write for your story, but there should at least be some main goal the character is vying for, and a motivation that dictates how much they want or need it. 

For example: An aspiring actress hoping to make it to the stage and audition for the lead role in her favorite play.  —> Why does she want to be an actress so badly? What does it mean to her to act in her favorite performance? What does she have to prove, to herself or others?

~`* They are flawed, yet relatable:

I’m sure you’ve all heard this before… but I’m still going to reiterate:

Your character should have relatable flaws that readers can sympathize with. It’s no secret that flaws make characters human and relatable. Flawed characters help us remember that nobody’s perfect, and that we’re not alone in our struggles and in our plights (stay back, Mary Sues!). These flaws can be anything, from fears, limitations, biases, misbeliefs, quirks, shortcomings, or behaviors. It’s useful two have at least two: a minor flaw and a major flaw, where the former affects only the only character and nothing else, and the latter hinders the character and affects the plot. 

For example: A highly-knowledgeable yet socially awkward and oblivious professor who can hold a bar of soap better than a conversation.  —> Does this flaw make him out to be charming or weird to others? How can his social-awkwardness affect the plot… does it hinder him from connecting to his students or colleagues? 

~`* They have unique talents or interests.

Sometimes I read a story, and personally I have a hard time connecting with a character if all they care about from beginning to end is what’s happening in the plot. It’s like they exist for the sole purpose of the plot, and are nothing but a shell to see through the events or its challenges. This is understandable, especially when it’s an action-packed story or thriller. 

Personally, I can’t help but wonder what its main character does for fun. What they’re like before the events of the novel. 

I think it can be useful your character skills or interests that set them apart. This not only makes them interesting, but can drive the plot in unexpected ways. *Bonus points if they have a particular skill or hobby that conflicts with the way they present themselves to others, or if they hide it well if they are embarrassed by it or afraid of getting judged. Essentially, this is all to clue-in on the reader to the character’s backstory, their personality. It helps them seem more individualistic, like humans with their own sets of interests or ideas that give them more complexity and uniqueness. This can also be useful in creating parallels or connections to your story’s themes or your character’s arc. 

For example: A brave warrior with an aptitude for gardening and flower arranging.  —> Seems random, right? But what if this warrior had workin in their relative’s flower shop, and has kept the skill alive in their days of battle to see pieces of beauty around them, hope from fear and danger? They might dig graves of their fallen friends and leave behind flowers in remembrance. Just an obscure  example, but see all the possibilities something like this can open up?

~`* They have deep, complex relationships.

Sometimes we can get a better idea of a character when we see them interact with the people around them. It’s like showing vs. telling, where we get a firsthand look at how the main character treats his family members, how he accepts or refuses help from those he’s close with, what he appreciates most about his significant other, how he feels about the annoying neighbor next door. Who’s the one person they most admire and never want to let down? Who’s the one person they despise with all their body and soul? Whether it's friends, family, enemies, or romantic entanglements, complex interactions and relationships add layers to your character and in how they showcase themselves to the world. 

For example: An excellent, compassionate therapist with a strained relationship with his own family member.  —> How does this character feel about this kind of relationship? Does it stem out of shared family troubles, or something deeper? Is there a glimmer of possibility the therapist might reconcile with this relative, or are they dashed because of mutual pride or distrust? 

~`* They often face moral dilemmas.

It’s time to get philosophical. Human nature is full of paradoxes and tough moral questions, and so characters with conflicting qualities can be intriguing and relatable. Introduce moral dilemmas and conflicting values that force your character to make tough choices and confront their conflicting values. Do they have a friend with conflicting beliefs that challenge their own? Are they forced to act a certain way because of external pressures? Are they forced to choose between saving one person while destroying another? 

No matter how serious this dilemma is, you can also add a moment of clarity or self-awareness for your character. This can be a turning point where they acknowledge and confront the conflict within themselves, thus becoming face-to-face with their internal crisis and how they decide to go from there. Do they weigh the pros and cons considerably, do they fumble because they’re hesitant, or do they embrace the new changes? 

Despite conflicting values, make sure your character's behavior is consistent with their established personality. Consistency helps maintain authenticity and keeps the character grounded. 

For example: A scientist torn between protecting humanity and the pressure of making a groundbreaking discovery.  —> How does making this discovery very important to this character? What do they stand to lose… what do they stand to gain? Are they at the risk of becoming something completely opposite of who they were at the beginning of the story, losing their sense of morality or forced to choose a side? 

~`* They show their quirks and habits.

Introduce quirks or habits that make your character memorable. These little details can make the character more relatable and interesting, because just like talents or hobbies, this can also give a clearer sense to the reader of what kind of personality the character has and what they’re like. Not to forget, it also helps them to stand out from other characters on the page, giving them a unique voice with their kind of dialogue, their behaviors, style, and mannerisms.  

For example: A scholar who can focus only if she’s chewing gum or wearing her lucky ring.  —> How might’ve this character started this habit or tradition? Does it actually work? Does it not work, but they still do it anyways because it’s comforting for them? Also, where did they get this quirk from?

~`* They have a backstory.

Most of what we’ve been discussing in this post already leaves some framework for the character’s backstory. It’s important to have a meaningful backstory in mind that influences the character's present actions and explains why they are they way that they are. This adds depth and helps readers understand their fears, desires, and motivations better; not shallow and two-dimensional as cardboard cut-outs. 

Sometimes we don’t get a backstory for our character right away. Backstories takes time to brainstorm and shape — let alone into a complex or compelling one — but its helpful to trust the process. What you can do if you’re still looking for the right one, is to ask yourself questions  on things that matter to you most. This pertains to your story’s themes and other main ideas you may like writing about, such as grief or family matters. It all boils down to who your character is (the present), and where it stemmed from (the past). If we take this a step further: does this backstory guide them or force them to make changes within themselves, thus leading to their changed self at the end of the novel/series (the future)?

For example: A woman with a fear of marriage because she’s seen firsthand its faults, including her own parents’. —> Is her parents’ divorce still something she’s struggling to come to terms with? Is her misbelief equating marriage to constant conflict? Does she have a secret desire to get married, yet it put off by its pressures? Does she make up for this fear by focusing on other matters? Will this fear later be disproven?

~`* They are often vulnerable. 

Every hero needs vulnerabilities. Imperfections. Weaknesses. We’ve talked about strengths and flaws before, but giving them that dent in their armor, any little opening someone or something might get through, leaves a reminder that no one, especially our hero, is invincible. Nobody’s perfect, after all (side-eyeing you, Mary Sues…). Make your characters messy: adding vulnerabilities helps makes them more authentic and genuine, opening up chances for them to learn and evolve as the story moves along. 

It can also add a layer of suspense to the story, especially in conflict and tension. How will the character handle someone breaking their walls down, or a bad experience threatening to make them crumble and fall back to old habits? How do they handle their insecurities? How well do they hide their fears, and will they ever admit them?

For example: An old woman with bad eyesight and lives alone can’t tell that the reluctant robber breaking into her home is not her grandson.  —> This is a fun little example that opens up many possibilities. Her bad eyesight is a physical vulnerability, and so is her soft spot for her supposed grandson. The robber notices this, and he too may have a soft spot for any old woman who treats him kindly. Does he use this to his advantage to rob the house, or does he humor her for a while?

I’d definitely like to expand on these tips sometime. If there’s anything you’d like to share or add, please do so! I’d love to hear y’alls thoughts. Hope this helped!

[sun-and-moon-mushroom]

Scum Villain Plot Bunny: Soulmate AU

AO3 link

AU premise: Found here

The first thing Shen Yuan — now Shen Qingqiu — does when he’s left alone after transmigrating is pull open the robes over his chest and look down at the skin where his soulmark is meant to be. It’s still there, thankfully, a thin branch decorated with open plum blossom flowers. He supposed it wouldn’t have been too strange for it to change — after all, the soulmark that the original Shen Qingqiu was written as having had been oddly similar, just with closed buds instead.

The colour of the petals was still vivid under his fingers, despite some odd discolouration around the edges, a bright and vibrant red, rather than faded by the inevitable snapping of a soulmate bond with the death of one member. It made him wonder…

“System, do I have a soulmate here?”

[Shen Qingqiu is soulbound to Protagonist Luo Binghe]

“I know that already!” he complained. He’d read the book — Proud Immortal Demon Way — and as bad as the story had gotten over time, how could he forget one of the most pivotal moments of the plot, the one that had resulted in a sudden surge of popularity… as well as complaints from readers about the story heading into danmei territory after it was revealed that the awful scum villain shizun of the protagonist was his soulmate all along! (Although Shen Yuan could admit that the influx of fanartists that shipped the pair had helped the popularity of the novel grow… he even had a few of their works as posters decorating his apartment and as wallpapers for his laptop).

Airplane-Shooting-Towards-the-Sky had been quick to assure his loyal readers that he was still writing a stallion novel — the twist was based on stories of soulmates with fates bound not by love, but by hatred, great rivalries and sworn enemies. Of course, the hack of an author had quickly abandoned his premise in favour of adding more wives to the harem, with the character that could have been Luo Binghe’s greatest enemy taken down in a trial of all things! No dramatic final confrontation, no sudden plot twists or hidden schemes, it was like the villain had forgotten the role he was meant to play, not even trying to escape from his prison! Shen Yuan demanded a refund! Imagine if Sephiroth had been arrested halfway through the game, or Darth Vader was fired after a poor performance review! It completely destroyed any sense of tension the story had, with every future villain only showing up to be immediately defeated by Luo Binghe.

He asked the System about his soulmate again and it replied the same way.

[Shen Qingqiu is soulbound to Protagonist Luo Binghe]

His scathing literary critique aside, Shen Yuan was stuck living the life of Shen Qingqiu, and now it seemed he’d taken on his soulmate bond with Luo Binghe as part of that. This presented a problem — as much as he wanted to help the protagonist, the System had made it very clear that any deviation from the way Shen Qingqiu usually acted would be punished. Unfortunately for him, this included the fact that Shen Qingqiu refused to make any physical contact with Luo Binghe, not even to hurt him — because that would solidify the bond between them, something the original was, for some reason, completely opposed to, despite the side effects. The very side effects that the current Shen Qingqiu was currently experiencing now, due to the battered-looking young boy bowing before him.

Shen Yuan had never felt his soulmark burn before. For most of his life, he’d assumed he’d be like most people, and only experience it later in life, if he got that far (the average age to meet your soulmate was 37 after all). It hurt, more than he expected it to, but it was a dull and constant pain of the sort he was used to ignoring. He could see Luo Binghe wince before him at the feeling, and felt pity for him. At this point in the story, Luo Binghe didn’t even realise that he had a soulmate, his soulmark sealed away with his demonic heritage at birth. To him, he only felt an unexplained pain in his chest whenever he met Shen Qingqiu, something he attributed in the earlier chapters to guilt at not meeting his expectations, and in the later ones, before the Immortal Alliance Conference and the reveal of the truth, to a burning hatred.

Shen Qingqiu could only sigh internally in relief — it seemed he was early enough in the story that it was still the first. He still had time, still had a chance, to save his own skin and make it out of Airplane’s trainwreck of a story alive, and with all his limbs attached. All he had to do was convince the protagonist to like him… without ever revealing that he was really his soulmate.

[mi-i-zori]

Writing Resources - Masterlist

This masterlist will host the links to the posts and threads I've saved as writing resources. None of them are mine - all the credits go to the amazing people who made them.

Characters

Author, Narrator, Protagonist, Hero... Who is What ?

Creating Black Characters With Intent

Describe Your Main Character Sheet

Emotionally Reserved Characters

Flaws to Give to Your Characters

How to Introduce Your Character In 3 Steps

How to Show Emotions (They have a whole series for this, please go check it out !)

How to Write a Character Who's in Pain

How to Write Trauma With Humanity

Open Letter from a Poc for People Who Are Writing Characters of Colour

Questions for Crafting Problematic Characters

Tips : Nail Your Character's Mannerisms and Speech Pattern Down

Top-Tier Villain Motivations

What Will Your Character Do If...

Fantasy

Fantasy Guide to Education

Make and Interesting Wedding Dress in Your Fantasy Setting

Reasons Why Can't Your Characters Use Magic To Fix Everything

Some Locations and Structures to Include in Your Forest

What No One Tells You About Writing Fantasy

Good to Know

A quick Guide to Animal Symbolism

An Introduction to Small World Theory

Differences Between UK and USA Military Dog Tags

How Boat Pronouns Work

Medical Facts that are Commonly Overlooked

Medieval Dyes

Playing Music With a Bow! (The Archery Kind)

Realistic Travel Time

Roles on a Pirate Ship

Slater's Impromptu List of Military Reference Material

Sick/Poisoning Fics

Stop Doing This in Injury Fics !

Symbolism in Writing

The Anatomy of Passing Out : When, Why and How to Write It

The Anatomy of Punching a Character in the Face

The Symbolism of Flowers

Ultimate List of Weapons and Arsenal for Fantasy Setting: Purpose and Who Uses Them

What's the Deal With Archers and Animal Companions ?

Horror

Creepy Things to Add to Settings

Horror and Comedy : 90/10 rule

How to Write Creepy Stories

How To Scare Your Readers

Most Common Character Flaws in Horror Fiction

"Never Were" and "Used to Be" Monsters

People Get Eldritch Madness Wrong

Romance

When the Romantic Tension is High

Tips

If You're Starving in a Post-Apocalyptic Fic

How to Make Your Writing Less Stiff

Pep-Talk - You Are Allowed to Be Proud of What You Write + List of YT Channels and Amazon Links for Writing

Resources About Survival in the Wild

Skip Google for Research

Some Writing Advice

The Neurodivergent Writer’s Guide to Fun and Productivity

Write Smarter, Not Harder

Writing Tip : Research

Vocabulary

Aesthetic Words to Fill Up Your Vocabulary

Bilingual Characters - German Edition

CoD - Spanish for Ale and Rudy Fics

Colours in Descriptions

IRL Operator Phrases/Terms - USA Edition

Gemstone Colors

German Pet Names

List of Wikipedia Articles - British and American Words and Differences

Scottish Phrases and Words for Soap MacTavish (or Scottish Characters in general)

Soft-Feeling Latin Words and Phrases

On Using Words that Indicate Sounds and Tones for Dialogues

Words to Use Instead of "Running"

Words to Use Instead of "Sighed" and "Frowned"

Writing Russian-Speaking Characters

Voices

A Guide to Write a Mancunian Accent

Growled, Roared, Snarled, Etc... A Brief Description

Writing Character Accents in Fiction

Worldbuilding

A Website That Walks You Through Creating a Believable Society

List of unique and imaginative types of government that can add depth to your fantasy world

Random Linguistic Worldbuilding

Other

Backup Your Tumblr Blog

Disable Recall for Microsoft's Copilot+ PCs

How to Find a Post on Tumblr

Protect Your Stories on AO3

Show Me a 10ft Paywall, I'll Show You a 12ft Ladder

Mii's Blog Recommendations

@deception-united - I love the resources this person shares ! They have a masterpost that lists their useful posts, but they also complete some of these posts as answers to asks and reblog a lot of other resources.

@leisureflame - This blog has a lot of resources, advice and prompts ! The author also offers to help with other people's struggles too, which is immensely wholesome in itself.

@writers-potion - This blog has tons of amazing posts to help writers with their research. I keep coming back to it, and highly recommend checking it out ! Here are this person's extremely useful Masterpost (1) and Masterpost (2).

[mxdarling]

[FABLE OF THE STARS (2)]

•❅───✧❅✦❅✧───❅• •❅───✧❅✦❅✧───❅•

ೃ⁀➷: summary: after reading the first few pages of the fable of stars, you can't help but let yourself be intrigued by even more people who live beyond the stars. let us open your eyes to their story.

ೃ⁀➷: word count: 1.2k

ೃ⁀➷: ref/inspo: fable of the stars #1 | fable of the stars #2

[author’s note:] FINALLY PART 2!! no one really asked for a part 2 but i felt the need to write one plus my motivation is high on hsr anyways, so here i am rushing to finish this before school starts so let's hope this one is written a bit better than the first one CUZZ i didn't proofread shit last time BHDHBD

[part one]

[note:] If there is anything else triggering here that I didn’t list in the warnings section, please tell me.

[warnings:] bad metaphoric writing, bad attempt of character analysis (take this with a grain of salt please), lowercase, not spoiler free, can be considered 'x reader' if you're delulu enough, noah is trying to explain hsr character lore (and failing miserably, once again).

MARCH 7TH, THE WARRIOR

a cute girl who always has her camera with her and enjoys taking pictures of everything around her. according to her, it's good to have a pastime for someone her age, and she's less likely to forget these memories. every photo she takes inside her camera is safely kept close to her heart and in the comfort of her own room, where she can hang it up and smile to herself, hoping to take even more photos while she's around. perhaps deep down there's this inkling fear that one day all those memories she's made with everyone will be forgotten, that these people who've been with her through thick and thin will suddenly become strangers to her.

although she often has a smile on her face, she struggles to find her place in the astral express. in her mind, everyone has a role within the astral express: pom-pom is the conductor, himeko is the navigator, welt is the jack of all-trades, dan heng is the guard, and she is... the warrior. she doesn't necessarily feel nor act like one; warriors commonly don't wield a bow and arrow—rather, they hold their swords with a tight grip, slashing through every obstacle that comes their way, and when faced with a formidable foe, they push forward with bravery in their hearts and end up victorious. one day, she wishes to be just like those warriors, and maybe she'll find her place in the express.

contrary to belief, a cute girl such as herself is very much into mystery novels, especially ones that feature a detective. how they follow the trail of clues to piece together to hopefully solve whatever mystery they're trying to uncover—that's what makes the story so compelling for you. how you can read a clue and not understand its purpose only to realize what the clue meant many pages later, how there's a sense of satisfaction after reaching the end of the protagonist's journey to figure out the truth, how they learned so much about the world around them, their family, their friends, their enemies, their frenemies, but most importantly—themselves. to march, the feeling of needing to find what's inside a mystery is all too familiar, for she—herself—is the greatest mystery.

"a girl who once slumbered in eternal ice and knows nothing about her past. to find out the truth about her origins, she decided to travel with the astral express. as of right now, she has prepared about 67 different versions of her life story for herself."

JINGYUAN, GENERAL OF THE XIANZHOU LUOFU

the "dozing general," a title he's gained through his seemingly lazy demeanor, taking every opportunity to take a nap, spending an awful amount of time in leisure, gradually falling asleep during one of fu xuan's lengthy reasonings of why she should be nominated to generalship, and much more. yet he's much more attentive than he lets out to be, able to perceive the intentions of other people, keeping his cards close to his chest, knowing exactly how to play them at the right moment to catch the other person off guard, and checkmate you when you least expect it.

through his careful management of affairs and wise strategy of leading the cloud knights, the peaceful years seem to stretch into many centuries for the citizens of the luofu. while some have complained that the general feared combat so much so that he rarely resorts to battle it out, yet that couldn't be further from the truth. the reason is simple: he's protective—not corrective; he does not consider saving the xianzhou luofu from disaster at the last minute as a showcase of wisdom. he continues to oversee the xianzhou luofu, using his intellect to cut down on any thorny problems they encounter—like the tip of the sharpest blade.

even then, his renowned abilities as a general and his intellect are nothing against the cruel reality of time. in the past, the high-cloud quintet was regarded as legends during their time, accomplishing countless feats throughout their prime. however, in just less than a hundred years, the five of them soon fell apart. he watched and witnessed the destruction fall upon his very own friends—how, at the very end, he's the only one remaining. fate has been so cruel to other people around him yet somehow spares his out of everyone else, a haunting reminder of his powerlessness against the enemy that is time.

"the divine foresight, one of the seven arbiter-generals of the xianzhou alliance, leads the cloud knights of the xianzhou luofu. a student of the luofu's previous sword champion, though not known for his martial prowess."

JINGLIU, FORMER SWORD CHAMPION

in the present day, her name is one that is considered forbidden, and it has been like that a long time ago. her name has been erased from any sort of history recorded in the public's eye; only those in higher positions or who lived long enough to see the high-cloud quintet in their prime would remember it. remember how she was the one who established that high-cloud quintet, remember how she taught jing yuan the art of the sword and saw the fruits of his effort turn into his glory, remember how many praised her for wielding a sword so impressively, and that the title of sword champion is one she's earned rightfully so. they remembered, for the past can never be truly forgotten.

she recalls the first time she met her student, a young but devious child who had asked the same questions as she did back when she was younger and when her master was still alive. "master, why do you insist on using the sword? aren't there other weapons available you could've used?" he curiously asked during one of their trainings. "that's like asking why poets write poems; there are many ways to express oneself, but this is the only way i express myself," she replies with wisdom, the same kind her master has given her back then. her master is no longer around, though; there is no one to instruct her or provide any more lessons. however, she no longer needs one; the way of the sword has been imprinted into her system so long ago and so many times. she knows everything there is about a sword; they've become a part of her now.

she's has lifted and wielded many swords in this lifetime, and in many battles and wars she's stood side-to-side with allies and her disciple—no matter which way her sword swung, abominations could never escape the death or imprisonment destined for them. she just never thought she'd be pointing the end of her sword towards a lifelong friend in battle. it was during that time that she felt trapped in her own nightmares again, the destruction of her own home caused by that ominous planet, and she was unable to struggle against such a fate. yet as she leaped forward into the battlefield, suddenly familiar words were heard: "i will cut down even the stars in the sky."

"former sword champion of the luofu, and the creator of the cloud knights' legends of undefeated might. now, her name has been wiped from the records, and she is a traitor of the xianzhou walking on the fine line between sanity and mara-struck."

•❅───✧❅✦❅✧───❅• •❅───✧❅✦❅✧───❅•

PLEASE DO NOT COPY, REPOST, SHARE, TRANSLATE OR REUPLOAD ANY OF MY WORKS TO OTHER SITES WITHOUT MY PERMISSION + REBLOGS AND COMMENTS ARE APPRECIATED.

[jurakan]

Do you have any thoughts about who/what Tom Bombadil might symbolize/represent/evoke in Lord of the Rings in relation to Tolkien's Catholicism? (I am watching Rings of Power and extremely excited to see my boy Tom)

I'm going to be real with you: I don't know.

[IT'S YA BOI]

Tom Bombadil, as you probably know, is an utterly bizarre figure, given that he was first protagonist of some children's stories before he hopped into the Hobbit sequel as Tolkien was writing it. And in it, he isn't just some guy. He's apparently ancient, as in he says he was in Arda (Earth) before the Dark Lord's arrival from "Outside". If the Dark Lord in question is Sauron, then he's pretty damn old. If it's Morgoth, then that means he is as old as the Earth itself.

Which is! By the way! Supported by the text: as the Tolkien Gateway points out, he calls himself "Eldest," and the elves call him "First" and "Oldest and fatherless", and outside Eru (God) and the Valar/Maiar, no one in the Legendarium is "fatherless". He was apparently in Arda before the trees and landscape, which is, uh, basically as the world was being formed in Tolkien. In The Silmarillion, Morgoth is also the first of the Valar to flee to the world after it was created? So, uh... he's literally old as dirt. He also is apparently sinless? Or at the very least, devoid of obvious temptation, because the Ring has no effect on him whatsoever.

Which makes him hard to place from a Catholic perspective. The Valar/Maiar are quite obviously parallels to both pagan deities and angels, in a way that is clear to even casual readers. It's not hard to fit the Valar into that role, knowing the author is Catholic--"Oh, here are angelic figures that ancient men mistook for gods! Okay!" And you can put different events in The Silmarillion into those sorts of ideas. But Bombadil doesn't fit neatly into that kind of slot. Tolkien also wasn't too helpful, as he deliberately did not clarify Bombadil too much, because he thought that the mythic Middle-Earth needed some mysteries kept.

It is tempting to say that Tom's meant to be God Himself, given at one point Gandalf (I think?) says, "He is," reminiscent of God's name in the Bible ("I Am"). But given Tom's married, and Tolkien was devoutly Catholic (he sang Latin in Mass after Vatican II) I don't think this works. Some have suggested that he's an avatar of Tolkien himself, though I don't know where that's coming from.

This Aleteia article has this quote from a letter, but it does not say which letter, so I am not sure how reliable this is:

“I do not mean him to be an allegory – or I should not have given him so particular, individual, and ridiculous a name – but ‘allegory’ is the only mode of exhibiting certain functions: he is then an ‘allegory,’ or an exemplar, a particular embodying of pure (real) natural science: the spirit that desires knowledge of other things, their history and nature, because they are ‘other’ and wholly independent of the enquiring mind, and wholly unconcerned with ‘doing’ anything with the knowledge: Zoology and Botany, not Cattle-Breeding or Agriculture.”

Said article goes on to compare this to Saint Augustine's approach to knowledge.

This article I found compares him to a Biblical angel in his role in the narrative--though the author makes a point to say that he doesn't think that Bombadil is, in-universe, an angelic being (again, he doesn't appear to be one of the Valar/Maiar), only that he fulfills that narrative function. Which is on to something, I think--Biblical stories, and medieval Catholic legends, often have an angel appear randomly and help out the protagonist only to disappear and never again play a role in that person's life. In LotR, it's enforced, because when Frodo suggests giving the Ring to Tom, Gandalf and Elrond point out that he'd probably forget about the Ring, which is as dangerous as leaving it out in the open.

So I think--and I'm not a scholar on this, so take this with a pinch of salt, friend--I think Tom is something of an odd, medieval pagan figure (that is, an incarnation of the natural world, or an aspect of it, at least) that is being applied in a Christian story. Ancient and medieval legends did this sometimes, like Saint Anthony and the satyr or Sir Orfeo, because these people certainly believed creatures like fairies or satyrs existed, but tried to fit them into the Christian universe. Which is fair, I guess, because there's nothing in the Bible that says these sorts of things don't exist, so there's no reason a guy like Bombadil can't be running around out there, as long as acknowledges what the rest of the order of creation is (which Tom does).

I'm also tempted to draw some sort of parallel-like line (???) to Melchizedek in the Book of Genesis--a mysterious figure who is oddly helpful at the beginning of the story (Genesis), and also kicked off a lot of speculation. He is also sometimes seen as very old, or having parallels to angelic figures, or even God Himself.

I'm sorry this answer wasn't as helpful as something straightforward, but it's the best I could do.

[omegaphilosophia]

The Philosophy of Shakespeare

The philosophy of Shakespeare refers to the exploration of philosophical themes, questions, and ideas within the works of William Shakespeare. While Shakespeare was not a philosopher in the traditional sense, his plays and sonnets are rich with philosophical insights that address issues related to human nature, ethics, politics, love, fate, identity, and the human condition. Scholars and readers alike have long examined how Shakespeare’s writings engage with philosophical concepts and how these concepts are dramatized through his characters and narratives.

Key Themes in the Philosophy of Shakespeare:

Human Nature and the Human Condition:

Complexity of the Human Psyche: Shakespeare's characters are known for their psychological depth and complexity. His works explore the multifaceted nature of human beings, including the tensions between reason and emotion, ambition and morality, and appearance and reality.

The Tragic Flaw (Hamartia): Many of Shakespeare’s tragedies revolve around the concept of a tragic flaw, a characteristic that leads to the downfall of the protagonist. This theme raises philosophical questions about free will, fate, and the moral consequences of human actions.

Ethics and Morality:

Good and Evil: Shakespeare’s works frequently grapple with the nature of good and evil, exploring the moral ambiguities of his characters' actions. Plays like Macbeth and Othello delve into the corrupting influence of power, jealousy, and ambition.

Justice and Revenge: The tension between justice and revenge is a recurring theme, particularly in plays like Hamlet and The Merchant of Venice. These works examine the ethics of retribution, the consequences of revenge, and the pursuit of justice.

Fate and Free Will:

Destiny and Choice: Shakespeare often explores the tension between fate and free will, questioning the extent to which characters are in control of their own destinies. Romeo and Juliet and Macbeth are notable examples where the characters' actions seem predestined, yet their choices play a crucial role in their outcomes.

Prophecy and Foreknowledge: The use of prophecy, as seen in Macbeth and Julius Caesar, raises philosophical questions about whether knowledge of the future alters the course of events or if it leads inevitably to the fulfillment of that future.

Identity and Self-Knowledge:

The Fluidity of Identity: In plays like Twelfth Night and As You Like It, Shakespeare explores the fluidity of identity, particularly through themes of disguise and mistaken identity. These themes challenge the fixed nature of identity and raise questions about self-knowledge and authenticity.

Self-Deception: Characters in Shakespeare’s plays often engage in self-deception, either out of pride, fear, or desire. This theme is particularly prominent in King Lear and Hamlet, where characters’ inability to see themselves or their situations clearly leads to tragedy.

Politics and Power:

The Nature of Authority: Shakespeare’s historical plays and tragedies frequently address the nature of political power and authority. Richard III, Henry V, and Julius Caesar explore the ethics of leadership, the legitimacy of rulership, and the corrupting influence of power.

The Body Politic: The metaphor of the body politic, where the state is likened to a human body, is a recurring theme. In plays like Coriolanus and Measure for Measure, Shakespeare examines the health of the state and the moral responsibilities of rulers.

Love and Relationships:

Romantic Love: Shakespeare’s comedies and tragedies offer deep reflections on the nature of love, its joys, and its perils. Plays like Romeo and Juliet and Much Ado About Nothing explore the idealization of romantic love, the pain of unrequited love, and the complexities of human relationships.

Friendship and Loyalty: Beyond romantic love, Shakespeare also delves into themes of friendship and loyalty, as seen in The Merchant of Venice and Julius Caesar. These relationships often raise questions about the conflicts between personal loyalty and public duty.

Appearance vs. Reality:

Illusion and Truth: Many of Shakespeare’s plays involve themes of appearance versus reality, where characters and situations are not what they seem. Hamlet and Othello are prime examples of how deception and the search for truth drive the plot and philosophical inquiry.

Theatricality of Life: Shakespeare often blurs the line between reality and performance, as seen in As You Like It's famous "All the world's a stage" monologue. This raises philosophical questions about the nature of reality, the roles people play in life, and the construction of identity.

Mortality and the Meaning of Life:

Death and the Afterlife: Shakespeare’s works are deeply concerned with mortality, the fear of death, and the unknown aspects of the afterlife. Hamlet's "To be, or not to be" soliloquy is one of the most famous meditations on existence and the fear of what comes after death.

The Transience of Life: The fleeting nature of life and the inevitability of death are recurrent themes, particularly in Shakespeare’s sonnets and tragedies. These reflections often lead to a broader contemplation of the meaning and value of life.

Philosophical Skepticism:

Doubt and Certainty: Shakespeare’s characters often grapple with doubt and uncertainty, questioning their beliefs, their perceptions, and the world around them. This skepticism is evident in Hamlet's introspection and in King Lear's descent into madness.

Relativism and Perspective: Shakespeare frequently presents multiple perspectives within his plays, allowing for a relativistic view of truth and morality. This multiplicity of viewpoints invites the audience to question the nature of truth and the reliability of perception.

The philosophy of Shakespeare is not a unified doctrine but rather a rich and varied exploration of fundamental human concerns. Through his characters and narratives, Shakespeare engages with philosophical questions about human nature, morality, power, love, identity, and existence. His works continue to inspire philosophical inquiry, offering insights that are as relevant today as they were in the Elizabethan era.

[mhaynoot]

[orv major spoilers]

anyways we know that orv golden trio is reader, writer and protagonist. and youre thinking oh yeah kdj is the reader, hsy is the writer and yjh is the protagonist and yes youre right but also these titles and roles are transient and, as is in line with orv, characters do not simply remain predefined within the borders of their own boundaries

easiest and most obvious is kdj the reader into kdj the one who wanted to rewrite WOS's story and also into kdj the protagonist of orv. our dearest reader, writer and protagonist. he read a story, he dreamed and rewrote that story, and in doing so became the protagonist of his own.

but what about hsy? isnt she introduced as a writer and in the end also a writer? yes. and she read kdj's story to write his. she becomes his devoted reader, not only by his side during the 4 years of the scenarios, but also the 4 years she spends reading and writing his story. and i will argue she was one of the protagonists of the epilogue. she who was introduced as a villain and played the role of a "villainous" right until the final chapter. but, in line with the theme of change, she had then become the epilogue's protagonist. hsy and her writing process, it plays into the relationship between reader and writer, of the dialogue that becomes open between the words of another, the story of another and the transformative nature of story telling. if you reread orv with the lense thst hsy and kimcom and yjh are the ones writing down these words, you can understand how much love had shaped each letter. death of an author and all that but the author's words will always be a character own to itself.

and, in my opinion, most interesting of all is yjh. of course, he's introduced as the original protagonist of Ways of Survival. this grimly, tragic individual who could never move forward in time and stuck in the tragedy of an eternal hell. throughout the orv, you see kdj struggle with this relationship the most with yjh the regressor. but as you know, yjh eventually renounces his character and becomes the "yoo joonghyuk, ex-regressor". he had broken from the boundaries of the character and the story kdj had read to become his own person. this is important in his development espeically in the epilogue - yjh alone and barely surving and drifting through space with only the faintest wish and hope in a blinked out star. yjh, the former regressor, who doesnt know what to make of himself in a life without scenarios and a reader to watch over him, becomes a reader himself. he reads, reads and reads again to keep himself and his story alive in symbolic parellel to kdj using WOS to survive.

read and reread the novel. and when, he as one of orv's first reader, wanted to change the story's ending, well he became a writer too. although, we dont know the full extent of his editing but we do know that yjh probably did write some sections on his own, especially the ones from his perspective because there would probably be no way for hsy or anyone to extract and write his story, especislly when he was travelling through space.

reader, writer, protagonist - the lines between them are but a page turn away.

[whencyclopedia]

Nobody's Boy and His Pals: The Story of Jack Robbins and the Boys’ Brotherhood Republic

This book is recommended for university-level students, academics, and history enthusiasts interested in learning about the words and life of an individual, Jack Robbins, who left a deep impact across the United States. The intended readers of the book range from general history enthusiasts to university-level students and research scholars. The eye-catching title of the publication makes it particularly engaging.

Hendrik Hartog's Nobody’s Boy and His Pals is about one of the little-known social reformers of the United States, Jack Robbins. This book provides an engaging account of the Boys’ Brotherhood Republic and its legacy. Boys’ Brotherhood Republic was formed with the help of Jack Robbins and a few adolescent boys in Chicago in 1914. It was, as the author shows, quite an unconventional and unusual institution for its time. The intended readers of the book range from general history enthusiasts to university-level students and research scholars. The eye-catching title of the publication makes it particularly engaging.

As the title suggests, the book narrates the story of Jack Robbins and the critical role he played in teaching delinquent boys how to govern themselves independently of any supervision. Robbins was active during a phase in American history that is often associated, among other issues, with the moral panic about delinquent kids. This panic, as Hartog indicates, was quite discernable in places like Chicago and Los Angeles. It was, in fact, in these cities that Robbins spent most of his days as a social reformer. Moreover, as the book goes on to show, it was with the help of delinquent kids belonging to Chicago that Jack Robbins was able to form the Boys’ Brotherhood Republic, which had an interesting motto: “So long as there are boys in trouble, we too are in trouble”.

Divided into eight chapters with an Introduction and Conclusion, a fascinating story of an understudied yet important phase of American history is weaved by Hartog. In the initial chapters, besides introducing the protagonist of the story, concepts like “Big Brother” in the context of “chanceless waifs” and the panic of delinquent children are explained at length. In the same group of chapters, the contemporary socio-economic and political scenario that led to the formation of the Boys’ Brotherhood Republic is also discussed. In the latter chapters, fascinating insights into the otherwise little-known personal life of Jack Robbins are provided. The controversies and the problems that he faced, especially about his ideas on the rehabilitation of delinquent boys and the functioning of the Boys’ Brotherhood Republic, occupy a major portion of these sections. The chapters on Jack Robbins’s will (which he had drafted just before he died in 1958) and the legal battle that ensued relating to the will and the working style of the Boys’ Brotherhood Republic are the most engaging. The arguments which were made and the judgments which were passed in this relation had far-reaching consequences, particularly concerning child laws, in the United States.

Hendrik Hartog is Princeton University’s Class of 1921 Bicentennial Professor in the History of American Law and Liberty, Emeritus. For more than a decade, he directed Princeton’s American Studies program. Given that Jack Robbins did not leave behind any archival notes or documents of his activities and in the light of the absence of an archive of the Boys’ Brotherhood Republic, Hartog has done a commendable job of bringing to light an important aspect of the evolutionary history of child laws in the specific context of America. The rare photographs from the time when Jack Robbins and Boys’ Brotherhood Republic were active and the extensive bibliography and citations add to the richness of the book. Moreover, the detailed floor maps of buildings from where the Boys’ Brotherhood Republic functioned and some unique newspaper clippings throw light on the child laws as they evolved in the United States. The expansive view of the book, from Progressive Era Chicago to Cold War Los Angeles, allows readers to understand the captivating history of the social reform movement in the United States, through the personality of Jack Robbins. Because the book has been written in a lucid manner and for more than one type of audience, it interests both general readers and specialists in law and history.

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