#and yes i do think the last part is relevant

[layzeal]

sometimes i think about how my sister had a friend in highschool who was super into 1D but specifically into larry and the babygate conspiracy and one day she was at our house and talked for an hour about the whole thing and showed us pictures talking abt how the baby is obviously fake and it was all about hiding louis and harry's secret gay love. anyways she's a jehova's witness now

[the-busy-ghost]

One of many downsides to recent political news is that Tony Blair seems to think that he's suddenly become Relevant again, why can I not get away from this man

[creatingblackcharacters]

No, That’s Not ‘How Color Works’. - Whitewashing

Whitewashing, as defined by Merriam-Webster:

"to alter (something) in a way that favors, features, or caters to white people: such as a) to portray (the past) in a way that increases the prominence, relevance, or impact of white people and minimizes or misrepresents that of nonwhite people and B) to alter (an original story) by casting a white performer in a role based on a nonwhite person or fictional character"

In fandom context, we know it to include:

Making someone’s skin lighter

Making someone’s hair a thinner texture

Changing someone’s nose to be thinner

Shrinking their lips

Changing the character in their entirety to be someone else

The Normalization of Whitewashing

Remember how I mentioned last lesson that despite the nature of poorly drawn Black characters, most audiences are not turned off enough to discourage the action in professional works? Similar idea with whitewashing. Not the same- unlike the Ambiguously Brown Character, which claims to have plausible deniability, overt whitewashing is usually enough to make fans speak up! But that’s the key word here- overt! It has to be “bad enough” to make enough people speak up, but as we’ve seen many a time, “bad enough” seems to have a much higher threshold for nonblack viewership (sometimes the limit doesn’t exist!)

Some visual examples

This is a link to my personal thread on a Netflix show I was watching- Worst Ex Ever. Now, while the show itself was quite enlightening, there was something I could not get over. I thought I was going crazy. And that was that no matter how dark the person of color would be in real life, the animated portions would draw this light pinkish-brown. Every. Single. Time. It's like they couldn't fathom scrolling down the color wheel. And this is a Netflix original! Netflix has plenty of money for someone to have caught this in creation. But... it was produced. And put out. And they're making more of it.

I asked all of the Dragon Age fans about the series, and uh… I didn’t know things were this bad, guys! Apparently this is a man of color, but it doesn't seem like the creators want you to know that 🤣. Jokes aside, as I’ve discussed before, the noticeable whitewashing- and that was one of many racist things I was told- was not enough to prevent sales... so why would they stop? I can only hope this new game, with all the updates, is enough to turn the tide. But the series has gone on for a while now, that if they’d chosen to do ye same olde… there clearly would not be a lack of financial support to prevent it.

Colorism as a Tool

Even when actors of color are cast, colorism often plays a role in normalizing whitewashing to audiences, even to Black audiences! People think “oh well at least they’re Black!” as if that is the only important part. It is not.

While Aaron Pierre, the actor cast for John Stewart of Green Lantern fame, is a GORGEOUS, STUNNING man, he is not the dark-skinned man that John Stewart is supposed to be and should not have been cast! To me, this is overt colorism, but clearly for many people this is not “enough” to warrant concern or even prevent the casting itself- including the studio behind the movie! Black fans have plead for years for the character of Storm to be played by a dark-skinned, preferably African, woman, and it has never happened.

It naturally happens in fan spaces as well, which is another indicator that colorism as a tool for whitewashing is quite effective for audiences. If I see one more Zendaya fan cast for Kida from Atlantis, I will scream. It’s been happening for years, and I don’t think any of the people who just want to see her and Tom on screen either understand or care that Kida is a dark-skinned character. Zendaya doesn’t look anything like Kida- it doesn’t matter if she’s Black too! Just because someone is Black does not mean they can play every single Black character! I’ve even seen people fancast Emilia Clarke of Game of Thrones fame, to which… I don’t have the words. I can’t fathom what would cause these decisions other than racism.

The Common Excuses

I must be honest. I don’t really feel like re-iterating how certain things are not okay and how to fix them, because I’ve already discussed these things in massive detail. So I’m just going to direct the excuses I regularly hear to my lessons, where you can read up on them.

“Their hair/eyes are like that because they’re biracial so-”

Relevant Lessons: 2.1, 2.2, 2.3, 8, 9, 10

There is nothing wrong with having biracial characters with a range of features. I am not saying that! Because yeah, genetics do happen!

But I mentioned this in my last lesson, and I will re-emphasize here, that using biracial identity as a way to whitewash is a sinister form of racism. The intention here- the real intention- is the issue here! The idea that somehow this character can only look the way you want them to look by "diluting" their Blackness… I don’t know how you can explain yourselves out of that one.

You don’t get to use us as an excuse for diversity while still trying to maintain your preference for Eurocentric beauty standards. Black biracial people don’t always look light skinned, thin-haired and ambiguous, and even the ones that do don’t deserve to be treated as your fetish for pretend antiracism. If you just want to draw a white person with a tan, do that. But don’t change a character’s entire look just so you can work in some whiteness. If you want to claim that canon Black character’s mother was white, then I guess they inherited some of her personality because their features should not change.

“It’s my style/It’s the color-”

Relevant Lessons: 3, 4, 10

I hate all excuses for whitewashing, but I’ve grown to despise, hate, abhor and loathe this one the most as I’ve become an artist. I wish there were stronger words to describe just how much I hate the “style” and “color” excuse.

Are style and use of color oft intertwined? Absolutely. I’m not saying they aren’t. But out of everything, there are two things I want artists to understand:

1. Style does not cancel out racism! No style forces you to choose ashy greys and to change peoples’ features. That’s you! If you look at something, and it looks offensive, you change the style. You grow as an artist!

2. “Everyone who is brown will look ashy so I just-” if you recognize that your Black characters look strange in comparison to your nonblack characters, then it’s time to try something else! I don’t understand this sudden need for “realism” when it comes to color and lighting, but not when it comes to hair, for example. No one cares about realism when giving every and all Black characters wavy tresses they probably wouldn’t have, but suddenly milquetoast watercolor attempts at brown and off-putting lighting is “how it works”. That’s not fair.

The color picker is an available tool! I use it often!

Dead giveaway of purposeful whitewashing: if someone gets the outfit color palette right via color picking, but the skin color is multiple shades lighter. That means they were looking at that character and chose not to proceed.

Dead giveaway of purposeful whitewashing: if the white characters in the show are completely correct in their palettes. Again, that means they cared enough to look at everyone else… and not the Black characters.

If you use the color picker and the color picked is… disrespectful, you do not have to use that! You can simply choose a better color that is still similar to the brown that ought to be depicted!

“It’s the lighting-”

Relevant Lessons: 4, 5

If your white characters do not shine like snow in the sunlight because of your lighting, then your lighting does not make your Black characters suddenly light tan.

If your Black characters look bad in your lighting of choice- for example, putting a very dark-skinned character in electric white lighting can be ghastly- try changing the intensity or the color of the lighting. DON’T change your character’s skin color!

I'm going to show you some pictures of South Sudanese model Nyakim Gatwech. Pay attention to the choices of light, color, and makeup.

Look how BEAUTIFUL she is! Look at the choices of intensity and color of light, and how they make her look different in each image.

Now look at this image in comparison:

In this image, whoever did her makeup and took this picture did not take into consideration her skin tone. She's also under this really intense lighting. This is an example of "increasing the lighting does NOT make an image "better"". She didn't need to have lighter skin or "more lighting" to look good. She needed BETTER lighting, lighting that worked with HER.

To see this as an example in drawn art, @dsm7 makes an excellent argument for proper lighting and color, why it is an issue to use it as an excuse, and how to solve that problem.

‼️DISCLAIMER FOR NEXT EXAMPLE‼️

Okay. I am about to show y’all a fan-created example from my personal experience. It is a TEACHING EXPERIENCE ONLY. I am not including the artist’s name in this image. It happened a couple years ago, and it’s over- they’ve chosen to be who they are despite me kindly confronting them about it. The only reason I’m including it at all is because I feel like it would be remiss to have such a clear-cut, multi-level example, and not teach with it. That said, no, I am not telling anyone to act out towards them. Again, that is not what I’m telling you to do. The last thing I need is a literal lynch mob of angry nonblack viewership for trying to teach you all, and y’all sitting there watching it happen to me. Every example of whitewashing is not going to be so obvious, but I hope you learn how to spot the examples in the art you see and share.

I'm obviously a Hades fan, particularly of Patroclus- despite my disdain for the lack of effort in his canon character design. So I've seen a lot of things. That said:

“Well it’s just MY design of them-”

Relevant Lessons: ALL

The sepia coloring did not do this. The lighting did not do this. The design is the exact same as the Hades version, even down to the shape of the hair curling in the back. The only thing that is different… is the man himself.

Y'all. Y'all! You CANNOT take a pre-existing Black character and say “oh well this is my design of them” …and the design is of a whole white person. Because if the rest of the fit is the same, and the only thing that changed is the Blackness… Racism. If you’re going to “make up your own design”, then do that!

“Blackwashing”

Speaking of: I’m sure someone edgy out there thinks they’re so smart as they retort to the screen: “but if that’s not okay, then why is Blackwashing okay?” To which I say- shut up. 😐

The “definition” by fandom: making a nonblack character Black, usually an anime character, but characters in general.

Funny enough, the actual definition in the dictionary (or closest to) is “to defame”, in contrast with whitewash (as in whitewashing history). Maybe racist fans ARE using it correctly when they say you’re blackwashing their characters, when they mean you’re making them “less likable because they’re Black now”. 🤔

Anyway: Blackwashing is not real for the same reason reverse racism is not real.

Me painting these characters brown is not going to take away from the fact that there are far more of you in media than there is of me. Me saying that I ‘headcanon a character as Black with 4C hair’ is not going to make the studio go “oh! Well they must be Black with 4C hair now!” Me saying “oh I think I’d like this character better if they were Black” as a beta tester (less overtly, obviously, because I’m not racist!) will never make a studio change that character. Black viewers have minimal value in comparison to the power of the white viewer’s dollar. I could draw white characters Black every single day of every single game media… and they would still produce majority white characters. There has not been centuries- if not millennia, when we consider Jesus Christ himself, even- of purposeful “Blackwashing” with the intent of removing the original ethnicity- and thus importance- of white people. No one has ever been allowed to forget when someone is white. No one has ever been allowed to forget or not acknowledge white people.

How it could be "solved"

Personally, I love Black edits and I welcome them here. I find them creative and fun. But if you really, REALLY didn’t want us to make those edits, then naturally, we need more Black characters in all of our media!

I wouldn’t have to make edits if I saw more of me to begin with in the things I like to watch- but when we have those characters, racists act an ass about them. We’re not allowed to even be present! I’ve seen too many gamer bros mocking the existence of Yasuke in Assassin’s Creed, and he was a real ass man. But if we made a game about African peoples in African societies, how many of the gamer bros would actually play those games? Do you think there’d be as much support, when we hear so much about Black characters that are treated so abhorrently? How many games do we have where people would love their faves just as much if they were Black? I even learned that Solas was apparently supposed to be a man of color. IMAGINE how many people would not have liked that man, with the same exact plot and characterization.

Something I’ve noticed recently: apparently "Blackwashing" is not a thing when White fans “allow” it. Take this recent trend with Miku. International Miku was beloved! But if you draw any other character as Black on any other day, there will be people that are horrid about it. Ask any artist, Black artists and Black cosplayers especially, who’s ever done it what their comments are like. I’ve read entire missives akin to white supremacist drivel on how it’s somehow morally wrong to make characters Black. Meanwhile no amount of “hey maybe you shouldn’t do this” prevented the movie Gods of Egypt from being created, with a cast full of British White people.

Solutions to Avoiding Whitewashing!

1) Using References!!

Do I think you should know what Black people look like? Yes. We’re humans. It’s 2024. Everyone knows what we look like when it’s time to hate and discriminate against us, so you know what we look like when it’s time to love and depict us. If you’re on Tumblr, you have access to the Internet. ESPECIALLY if you’re in the U.S., as Black people are the source of damn near every piece of online pop culture. If you can find my dialect to make my jokes, you can find pictures of me.

Would I rather you use a reference every single time so that you can only strengthen your depiction of my people? ABSOLUTELY.

Anyone on the Internet telling you not to use a reference or that you shouldn’t need a reference? Unfollow them. You don’t need that negativity in your life. Why would you deprive yourself of a tool to create? The greatest portrait painters in history had to look at their subjects! You are not getting paid nearly as much to do this as Hans Holbein, and he had to stare at Henry VIII correct else lose his head- you can pull up multiple references. I’d far rather be judged for using hella references than be judged for being a racist!

Part of the issue is people draw what they’re used to, what they’re comfortable with (thus last lesson). But if what you’re used to is not what someone will look like… That’s not okay. Their features are not the issue, your skills are the issue. Learn! Practice! There is no rush. No one is rushing you to be perfect at drawing Black characters, and no one is rushing you to post them. You can just practice! If you’re not a professional, you can take as long as you need to draw! If you need to draw that piece of hair over and over until you feel like you have down the shape, you do that! If you need to use a tool that would draw the hair for you, you get that tool!

If you want to post, you can say you are practicing! If you make clear you are practicing, then be willing to accept that people may have feedback. I’d far rather deal with someone saying they’re unconfident and practicing, than someone posting a whitewashed caricature and closing their ears because “well at least I’m trying!”

2) Empathize! Care about actual Black people when you create a Black character!

Imagine, if you will, in the Twilight Zone: you went to an artist, and you asked for a white character (I typed in “regular looking white dude” on google). There’s hardly ever any white characters, you’re so super excited about this one! You paid good money, because you’ve seen just how amazing this artist creates! They’re so good at drawing characters of color! But no matter how many times you ask, they send you back an image of… Assad Zaman.

That man might be fine as hell! Gorgeous! Beautifully done! Chef’s kiss. Stunning! But… He’s not white. That’s not what you asked or paid for. You can’t even fathom how they mixed this up, they don’t even look alike! And when you confront them, they gaslight you, they call YOU the issue for not understanding how you can’t tell that this is a white man! They would never get this wrong! They have white friends, you’re the racist! But you’re not stupid, and you have functioning eyes- you can SEE what this drawing looks like! And… It’s not you.

It’s dehumanizing. It’s being told that there’s a “better way” to look like you, and that’s by… Not looking like you. You, as you exist, are what’s incorrect. Your identity is incorrect, not their drawing. It’s better to have thinner hair instead of an afro or locs, it’s better to have lighter skin, it’s better to have a straighter, thinner nose over a round one, and smaller lips.

And what makes it worse is knowing that people who don’t look like you? Probably won’t care. They won’t be willing to see- not unable, but unwilling- that playing with this caricature is harmful, that they’re propagating harm by not acknowledging it. They’re letting you know that your humanity means less to them than the clout received with a whitewashed or half-assed Black character, and that people will applaud them for that ‘attempt at inclusion’. And people will applaud! They will be entertained by the mere performance! And that hurts.

I’m going to say this, and it’s awkward and I try not to say it directly on here, but… Having Black friends and/or being around actual, real life Black people would help. I can tell from some of the questions I receive that Black characters and their traits- especially things like our hair and our cultures- are being treated as… alien concepts. But even if, for whatever reason, you legitimately don’t know any Black people, you do not need to know us individually to care about our humanity as a whole! Even if you do not know we’re there, we are, and we could possibly see your work!

By acknowledging Blackness and making room to understand what it means- and that includes how we can look- you are doing the bare minimum of acknowledging our personhood. If you cannot do even that, you don’t need to be drawing us.

Conclusion

Here’s the thing: if you want to draw a white man with tanned skin, do that. Just do it! You do NOT have to erase me to have more of you! There is not a single fandom where the majority of the white fans ever said “gee, not another white guy!” It simply doesn’t happen. God knows we wish it did sometimes. You will always have an audience for white characters. There’s no danger to any of you of “being erased”.

(Without putting on my political hat, I will say that a lot of white people who consider themselves to be far from white supremacist will express beliefs in line with great replacement theory if you push them hard enough. It is unfortunately not as uncommon an idea as you might think. I would do some self-evaluation.)

People are going to notice that you only ever draw white people, but… To be frank, that has never stopped anybody from being successful. Again, Jen Zee, at Supergiant with the terrible dark-skinned characters… Still has a job. at Supergiant. A professional studio. Dragon Age. Multiple games of consistent whitewashing and racist writing. Still going. If racism prevented creation and popularity, I wouldn’t have to have this blog. Alas, that is the society we currently live in.

But if you ACTUALLY want to depict Black characters, if you ACTUALLY want to do right and be respectful- not because you want the clout, but because it’s the right damn thing to do- then you need to commit! This means drawing them as they are meant to be! Accept that you’ll likely lose some fan base, who was there (whether they were aware of it or not) for the white and lighter skinned characters. Accept that this means that trying to appeal to those people by whitewashing characters is 1) wrong, 2) racist, which is 3) something you chose to do when you could simply have just… Drawn more white people.

I’ll say it again: antiracism is hard. It’s hard doing the right thing in a society that rewards racism so easily. It’s really hard knowing that people will stop supporting you or caring as much about your work when you start including Black characters as actively as you do white ones, especially if you start talking about the importance of it. But in my honest opinion, I’d far rather be someone that cared about others, with genuine fans, than someone that was racist for the fleeting internet clout of strangers. And that may be less ‘hopeful’ than I normally am in these lessons, but… People make choices. And people who have been informed- as you are now- are aware of the choices they are making. It’s the thought that counts, but the action that delivers- let’s choose better actions.

[bookishdiplodocus]

The Neurodivergent Writer’s Guide to Fun and Productivity

(Even when life beats you down)

Look, I’m a mom, I have ADHD, I’m a spoonie. To say that I don’t have heaps of energy to spare and I struggle with consistency is an understatement. For years, I tried to write consistently, but I couldn’t manage to keep up with habits I built and deadlines I set.

So fuck neurodivergent guides on building habits, fuck “eat the frog first”, fuck “it’s all in the grind”, and fuck “you just need time management”—here is how I manage to write often and a lot.

Focus on having fun, not on the outcome

This was the groundwork I had to lay before I could even start my streak. At an online writing conference, someone said: “If you push yourself and meet your goals, and you publish your book, but you haven’t enjoyed the process… What’s the point?” and hoo boy, that question hit me like a truck.

I was so caught up in the narrative of “You’ve got to show up for what’s important” and “Push through if you really want to get it done”. For a few years, I used to read all these productivity books about grinding your way to success, and along the way I started using the same language as they did. And I notice a lot of you do so, too.

But your brain doesn’t like to grind. No-one’s brain does, and especially no neurodivergent brain. If having to write gives you stress or if you put pressure on yourself for not writing (enough), your brain’s going to say: “Huh. Writing gives us stress, we’re going to try to avoid it in the future.”

So before I could even try to write regularly, I needed to teach my brain once again that writing is fun. I switched from countable goals like words or time to non-countable goals like “fun” and “flow”.

Rewire my brain: writing is fun and I’m good at it

I used everything I knew about neuroscience, psychology, and social sciences. These are some of the things I did before and during a writing session. Usually not all at once, and after a while I didn’t need these strategies anymore, although I sometimes go back to them when necessary.

I journalled all the negative thoughts I had around writing and try to reason them away, using arguments I knew in my heart were true. (The last part is the crux.) Imagine being supportive to a writer friend with crippling insecurities, only the friend is you.

Not setting any goals didn’t work for me—I still nurtured unwanted expectations. So I did set goals, but made them non-countable, like “have fun”, “get in the flow”, or “write”. Did I write? Yes. Success! Your brain doesn’t actually care about how high the goal is, it cares about meeting whatever goal you set.

I didn’t even track how many words I wrote. Not relevant.

I set an alarm for a short time (like 10 minutes) and forbade myself to exceed that time. The idea was that if I write until I run out of mojo, my brain learns that writing drains the mojo. If I write for 10 minutes and have fun, my brain learns that writing is fun and wants to do it again.

Reinforce the fact that writing makes you happy by rewarding your brain immediately afterwards. You know what works best for you: a walk, a golden sticker, chocolate, cuddle your dog, whatever makes you happy.

I conditioned myself to associate writing with specific stimuli: that album, that smell, that tea, that place. Any stimulus can work, so pick one you like. I consciously chose several stimuli so I could switch them up, and the conditioning stays active as long as I don’t muddle it with other associations.

Use a ritual to signal to your brain that Writing Time is about to begin to get into the zone easier and faster. I guess this is a kind of conditioning as well? Meditation, music, lighting a candle… Pick your stimulus and stick with it.

Specifically for rewiring my brain, I started a new WIP that had no emotional connotations attached to it, nor any pressure to get finished or, heaven forbid, meet quality norms. I don’t think these techniques above would have worked as well if I had applied them on writing my novel.

It wasn’t until I could confidently say I enjoyed writing again, that I could start building up a consistent habit. No more pushing myself.

I lowered my definition for success

When I say that nowadays I write every day, that’s literally it. I don’t set out to write 1,000 or 500 or 10 words every day (tried it, failed to keep up with it every time)—the only marker for success when it comes to my streak is to write at least one word, even on the days when my brain goes “naaahhh”. On those days, it suffices to send myself a text with a few keywords or a snippet. It’s not “success on a technicality (derogatory)”, because most of those snippets and ideas get used in actual stories later. And if they don’t, they don’t. It’s still writing. No writing is ever wasted.

A side note on high expectations, imposter syndrome, and perfectionism

Obviously, “Setting a ridiculously low goal” isn’t something I invented. I actually got it from those productivity books, only I never got it to work. I used to tell myself: “It’s okay if I don’t write for an hour, because my goal is to write for 20 minutes and if I happen to keep going for, say, an hour, that’s a bonus.” Right? So I set the goal for 20 minutes, wrote for 35 minutes, and instead of feeling like I exceeded my goal, I felt disappointed because apparently I was still hoping for the bonus scenario to happen. I didn’t know how to set a goal so low and believe it.

I think the trick to making it work this time lies more in the groundwork of training my brain to enjoy writing again than in the fact that my daily goal is ridiculously low. I believe I’m a writer, because I prove it to myself every day. Every success I hit reinforces the idea that I’m a writer. It’s an extra ward against imposter syndrome.

Knowing that I can still come up with a few lines of dialogue on the Really Bad Days—days when I struggle to brush my teeth, the day when I had a panic attack in the supermarket, or the day my kid got hit by a car—teaches me that I can write on the mere Bad-ish Days.

The more I do it, the more I do it

The irony is that setting a ridiculously low goal almost immediately led to writing more and more often. The most difficult step is to start a new habit. After just a few weeks, I noticed that I needed less time and energy to get into the zone. I no longer needed all the strategies I listed above.

Another perk I noticed, was an increased writing speed. After just a few months of writing every day, my average speed went from 600 words per hour to 1,500 wph, regularly exceeding 2,000 wph without any loss of quality.

Talking about quality: I could see myself becoming a better writer with every passing month. Writing better dialogue, interiority, chemistry, humour, descriptions, whatever: they all improved noticeably, and I wasn’t a bad writer to begin with.

The increased speed means I get more done with the same amount of energy spent. I used to write around 2,000-5,000 words per month, some months none at all. Nowadays I effortlessly write 30,000 words per month. I didn’t set out to write more, it’s just a nice perk.

Look, I’m not saying you should write every day if it doesn’t work for you. My point is: the more often you write, the easier it will be.

No pressure

Yes, I’m still working on my novel, but I’m not racing through it. I produce two or three chapters per month, and the rest of my time goes to short stories my brain keeps projecting on the inside of my eyelids when I’m trying to sleep. I might as well write them down, right?

These short stories started out as self-indulgence, and even now that I take them more seriously, they are still just for me. I don’t intend to ever publish them, no-one will ever read them, they can suck if they suck. The unintended consequence was that my short stories are some of my best writing, because there’s no pressure, it’s pure fun.

Does it make sense to spend, say, 90% of my output on stories no-one else will ever read? Wouldn’t it be better to spend all that creative energy and time on my novel? Well, yes. If you find the magic trick, let me know, because I haven’t found it yet. The short stories don’t cannibalize on the novel, because they require different mindsets. If I stopped writing the short stories, I wouldn’t produce more chapters. (I tried. Maybe in the future? Fingers crossed.)

Don’t wait for inspiration to hit

There’s a quote by Picasso: “Inspiration hits, but it has to find you working.” I strongly agree. Writing is not some mystical, muse-y gift, it’s a skill and inspiration does exist, but usually it’s brought on by doing the work. So just get started and inspiration will come to you.

Accountability and community

Having social factors in your toolbox is invaluable. I have an offline writing friend I take long walks with, I host a monthly writing club on Discord, and I have another group on Discord that holds me accountable every day. They all motivate me in different ways and it’s such a nice thing to share my successes with people who truly understand how hard it can be.

The productivity books taught me that if you want to make a big change in your life or attitude, surrounding yourself with people who already embody your ideal or your goal huuuugely helps. The fact that I have these productive people around me who also prioritize writing, makes it easier for me to stick to my own priorities.

Your toolbox

The idea is to have several techniques at your disposal to help you stay consistent. Don’t put all your eggs in one basket by focussing on just one technique. Keep all of them close, and if one stops working or doesn’t inspire you today, pivot and pick another one.

After a while, most “tools” run in the background once they are established. Things like surrounding myself with my writing friends, keeping up with my daily streak, and listening to the album I conditioned myself with don’t require any energy, and they still remain hugely beneficial.

Do you have any other techniques? I’d love to hear about them!

I hope this was useful. Happy writing!

[rin-may-1103]

The Master Post.

someone asked for a master post so here we are.

Tag List? yes, there is a tag list. If you'd like to be Added, please leave a comment on the Stories Linked Post. If the tags aren't working for some reason, then you can either Follow this post by clicking the bell (or the three dots) or follow the Story's Post the same way. I'll update both Relevant Posts when there is a New Part.

Unfortunately, I can't keep up with all the people asking to be added to the tag list in all the different posts, so to make it easier, please follow the instructions above. if you don't I'll most likely miss your comment and therefore not add you to the tag list. (if you're not sure if you're tagged or not, you can check out the Tag List Here, please follow the instructions in the comments)

Thank you for your understanding and cooperation.

I hope y'all keep enjoying the stories as much as I enjoy writing them.

Stories and Summaries:

The Wrong Robin Au (DP x DC):

Tim Drake saw Danny do a quadruple somersault, which resulted in him believing Danny was the first Robin for years. He still figured out Bruce but thinks Dick is in the dark. Now with the second Robin dead, and Batman quickly reaching the end of his sanity, Tim takes it upon himself to get Robin to come back. Danny is very confused when this random kid tries to blackmail him into becoming Robin.

Badger Day Au (DP x DC):

Danny is stuck in a Groundhog Day kinda situation and he would like to be let out now, please. The league is very worried.

Delilah's language (DP x DC):

Bruce Wayne approaches the Fentons because Damian is a big fan of Danny for his work in the conservation of the purpleback gorilla. So now Danny is going to the birthday of this random kid so he can teach him gorilla sign language so he can talk to the purple-back gorilla as well.

Just a Bite (DP x DC):

Danny's homeless on the streets of Gotham, when he gets a terrible idea from some passerby. Three weeks after living with the Waynes, they still haven't noticed he's not supposed to be there.

72 hours (DP x DC):

During a battle with the rest of the league, John Constantine is accidentally sent into the palace of Pariah Dark, Tyrant of the Dead, and Bane of the Living. Danny just wanted to have a simple spa day.

Biggest Regret (DP x DC):

Danny Had been optimistic when he created The Email. Three days, that's what he gave himself. Three days to fix or get out of whatever problem he was dealing with and open his laptop to restart the timer. Three days. Past him had thought that If he ever got caught they'd just kill him; it's what they said they would do this whole time, so why wouldn't he think otherwise? It's been more than three days, and at this point, he's just glad someone could fulfill his last wish.

The Disappointment (DP x DC):

Ra's has stated his disapproval of one of the twins, now Talia is rushing to get them out of there and to Bruce to be safe. Danny has other ideas.

Black Retrievers and Golden Cats (DP x DC):

He remembered how it took two hours for his mind to catch up to what he had done, two hours for him to realize he had just killed his brother. It took another two days to realize his brother was never coming back, that the pits had not worked. Damian stared at the camera footage infront of him, his family's voices buzzing with theories and analyzing everything they could. He remembered his brother's bright carefree smile just minutes before Damian had killed him. So, why? Why was he seeing it again?

College Rivalry with the Genius Toddler in the First Row. (DP X DC):

Tim doesn't understand how he's losing at university to a toddler. Danny's not having a great time, but it's fine because now he can terrorize Red Robin.

The Willpower of Space (DP X DC):

A faulty green lantern ring wakes from it's accidental eon long sleep due to how powerful Danny's willpower is. It decides that Danny is a worthy wielder and grants Danny the ability to use it. There's just one problem; Danny keeps dying. and the ring doesn't understand what's going on. Oa is very concerned.

The Weeping Boy Au (DP X DC):

I'll think of a summary later, for now, it's an expansion of this post.

[ham1lton]

girl if you write lando x assistant!yn, i think i'll ascend. oscaryn was already so good, but lando? would love that sm 🤭 have a great day queen!! 💖

author’s note: i’ve honestly been meaning to write this for so long! so here is some landoyn that doesn’t have lando being a loser. this is a part of my dream girl series <3

liked by oscarpiastri, roscoelovescoco and 1,727,832 others.

yourusername: is this what the kiddos call a photo dump?

view all 50,728 comments

user1: ain’t this lando’s gf??? no way he bagged a baddie 😭

-> user2: he’s paying her atp 😭

landonorris: just died btw

-> landonorris: but your beauty brought me back to life 😍

-> yourusername: ur so lame

-> yourusername: i want u 😍

user10: hottest wag on the grid

hater1: yn dating one driver and working for another. what a slut.

-> user11: and she’s way more relevant and sexy than you’ll ever be!!! stay mad bitch !!!! 😹

user9: the sky is blue, grass is green and no matter when yn posts, within five minutes lando has liked, reposted and commented seven times.

*liked by yourusername.*

user3: i need you omg. the first pic???

-> user4: SHE GET MONEY… HER BODY TEA…

lilymhe: my girlfriend is so gorgeous 👩🏻‍❤️‍💋‍👩🏾

-> yourusername: no my girlfriend is MORE gorgeous 👩🏾‍❤️‍💋‍👩🏻

-> landonorris: do you see this shit?? alex_albon

-> alex_albon: you just gotta let it happen mate

user7: yn will you marry me???

-> landonorris: NO 🤩

landonorris: do you have a boyfriend?

-> yourusername: yes i do :D

-> landonorris: can he fight 😡

-> yourusername: no x

-> landonorris: babeeee 😒😔

lewishamilton: did you know that lando spamming your comments is a form of harassment? i’ll cover any legal fees necessary for you. 🌱

-> maxverstappen1: i’ll pay half.

-> oscarpiastri: let me know if you need anything else yourusername 👍🏻

-> landonorris: jealousy is a disease of the heart. get well soon xoxo

roscoelovescoco: where’s my’s picture’s? 😢

-> yourusername: I CANT BELIEVE I UPSET YOU IM SO SORRY MY BABY 🥺🥺🥺🥺🥺🥺 I LOVE YOU.

-> yourusername: RUNNING OVER WITH TREATS RN!!!

landonorris: where is my pic creds for the last picture. want everyone to know you’re taken.

-> yourusername: sorry baby 💕💕

-> landonorris: ITS TOTALLY COOL TOTALLY OKAY I LOVE YOU MY ANGEL COOKIE FACE HONEY ❤️😘

landonorris: need you so bad 😍

landonorris: can i get ur number 😍

landonorris: can i slide in those dms queen 😍

-> user8: BRO U ALREADY BAGGED HER 😭

landonorris: thats MY girlfriend by the way stay mad everyone xxx

alexandrasaintmleux: double date soon? 🥰

-> yourusername: yes 😍 me and you can go out and we’ll leave lando and charles at home.

-> charles_leclerc: but then who’ll pay?

-> yourusername: good point… leave your credit cards with us and we’ll bring you back the leftovers x

-> landonorris: my gf is so generous 😘🥰

*liked by yourusername.*

landonorris: bae when are you coming home. our five kids are waiting for you xxx

-> user5: FIVE KIDS??? GET OFF HER 😭😭

-> yourusername: IM NOT A MUM YET PLEASE 😭

-> yourusername: he’s talking about my cats <3

-> landonorris: i want your cat

-> yourusername: OI BEHAVE 🙄 my boss can see this.

-> lewishamilton: unfortunately that is true, yourusername. thankfully jude is still single, for when you realise you’ve made a mistake 💕🌱

-> user6: HELP 😭😭😭😭😭

— taglist: @flowergirl1134 @laur20a23 @greantii @rafebun (wanna join the taglist? fill out this form here!)

[tritoch]

i have seen people be like "if you think what the dawntrail protagonists do in zone six is valid you have to conceded emet's approach/perspective was valid, what you do is basically what he does" and it's like...nah. it's obviously intentionally very similar ("it's like poetry, it rhymes") but there's some key differences:

emet is disgusted by sundered life, which he sees as inhuman, and longs to return to the unrecoverable past. so he does seven(ish) planet-wide genocides. the endless aren't new life, their ability to grow and learn is specifically in question (at the very least they are fundamentally incapable of taking in new sensory experience of certain forms), they're shades from the unrecoverable past, and you are destroying them in favor of those still alive.

also, we aren't disgusted by them nor do we think anything is fundamentally justified if done to them (everyone pretty much no-sells cahciua "we aren't alive so it doesn't matter if you kill us :)," in fact). we don't have like 12,000 years and the most advanced magic known to anyone alive. we are forced by serious exigency to destroy them due to a political impasse with their leadership's policy re: resource extraction. this tonal difference is in fact extremely important.

the endless themselves seem pretty ambivalent about the whole deal. they're bored or they're wary of the way their world keeps shrinking, and it's very explicitly neither a functioning society by any recognizable human terms nor a paradise.

related to the above, basically every named endless turns to the person most relevant to them (cahciua to erenville, krile's parents to her, namikka to wuk lamat, otis to you) and is like, huh, i really appreciate having this moment of grace at the end of my journey to see that it was all worthwhile and to resolve my lasting regrets, but i understand what you're here to do and yeah, it's probably time for us to go. (does the writing put a finger on the scale by doing this? sure, but the writers also designed and built the scales and everything they're weighing on them, so i find it hard to discredit any one aspect for being the writers' invention.)

finally uh no one in the party has kids with the endless or lives a full human lifetime as one of them lol.

it's important to remember that emet was definitely at least somewhat lying about not seeing the sundered as real people. the fact that he has "lived a thousand thousand of your lives . . . broken bread with you, fought with you, grown ill, grown old, sired children and yes, welcomed death’s sweet embrace" makes everything he did soooooo much crazier than what you do. if i managed to convince an endless to fall in love with me and i had a kid with them and i loved that kid so much that their death threw me into a permanent grief spiral then like. yeah i guess i would have to be like "well hats off to emet, folks." but luckily the game doesn't make you do that.

even if you insist everyone in living memory was a full living person that we killed, you're still weighing like a city of people versus 7+ planet-wide mass murders. you do not under any circumstances got to hand it to him.

living memory absolutely is evocative of everything that happens in shadowbringers. but rather than placing us in emet's shoes, it forces us to relive what we already did, to really fully face up to what we have done by promising to remember emet's culture after destroying any chance of its return. after two games going hard on the hope part of the game's central theme of hope arising from grief, now we're doing grief. we are forced to see the past of our memories not as a cold, ghostly art deco cubus-plagued socratic method hellscape but as the most beautiful technicolor theme park where everyone's happy and no one's sad and there's parades every day and your parents are alive and they love you so much. and then the game's conclusion is, yeah, you were still right to let go. in fact, you were and are morally obliged to let go. the living were and are worth more than the dead. our grief in letting go of them may be immense and turns our world to bleak nothingness for a time, and that is important to recognize, but at the end of the day our most pressing duty is to those we can yet save, not those we have lost.

[flamingpudding]

Fictober23 Prompt: 4 - "Do you even know what this means?"

Fandom: DPxDC

Rating: G

Warnings: -

Tim stared at his family with pure exhaustion before letting out a sigh while covering his face with his hands because of the worried looks they were sending him after his long rant.

It had all started with a stupid school project. It was just supposed to be a stupidly simple school project. Did he think of the whole thing as the greatest nonsense project his school has ever come up with? Yes. Did he still do it? Yes. He needed the extra credits, because of some stupid meetings he had missed other projects which was the entire reason he took part in this one.

Maybe he should have tried buying his grade out of it like all the other snobbish rich kids but then he would feel guilty and the moment Alfred found out, he would have to life with the disappointed™ look. Something he really didn't want to deal with. So instead he took part in this stupid ancestry project his school had organized.

But when he had allowed the school to send in his DNA he certainly did not expect the result he got back. Because when he opened the email, he noted that it was addressed to someone named Danny Fenton not Tim Drake, he didn't even read the rest really. That should have been his first warning.

His second warning was when he had hacked into the that DNA testing facility to actually get his results back and then found a note on his data file about a near 100% DNA match to one Danny Fenton which caused them to assumed that Tim was Danny and just had sent in his DNA a second time after, he peaked through his finger onto the screen, 5 years. That should have been his second warning.

But no, Tim had actively ignored all the warnings and decided to dig into who this Danny Fenton was. Because there were so many possibilities of how they could match but only so little to explain the time difference between them sending in the DNA samples. For dear good Tim hoped to all things that there wasn't someone else to have attempted to clone him before Ra, no worse even, he hoped HE wasn't the clone in this situation.

Really he didn't want to add existential crisis to all the problems and cases he already had to deal with.

So what does one do best when they learn there was someone with nearly the same DNA you have? He looked that someone up. So that was what Tim did next. He had spent nights looking up anything he could find, summarizing all the information he found, branching off when he found other concerning stuff and then stewed in some frustration of the incompetence of some people when discovering other facts.

In the end Tim compiled all the data he had found into a 30 slides long power point. That he had presented to his family and was awaiting their reaction. Bruce had grunted earlier and the demon brat had huffed out something in between slight 25 and 26 earlier. Jason had muttered something right at the beginning and Dick had stayed quiet the entire time, so did Cass. Steph hadn't said a thing either and Duke looked just puzzled.

"Do you even know what that means?" Demon brat finally broke the silence, causing Tim's eye to twitch before aggressively pointing to his last slide still on the presenter.

"Yes, I do know what this means. I have listed all possibilities right here if you haven't noticed. And i explained possibility three, four and six on slide-"

"Replacement. I don't think that's what the brat means." Jason cut in and Tim glared at him.

"Timmy, when was the last time you slept?" Dick carefully asked and Tim directed his glare at him.

"I believe Master Timothy hasn't slept for about 72 hours now." Alfred added in with that disapproving stare of him and time looked away stubbornly. How was the amount of sleep he got relevant right now? There was a possibility of him being a clone or someone having cloned maybe even years before he started to follow B around as a kid with a camera.

Bruce let out a sigh and Steph appeared to try to hide a chuckle leaning on Cass shoulder. "He must be lacking sleep if he doesn't see the most obvious possibility considering the time line he presented on slide 18."

"Oh so, I am not the only one thinking he is missing another obvious possibility?" Duke asked and once more Tims eye twitched. Getting fed up with his family, Tim huffed and crossed his arms, glaring at them all.

"And what is it that I am obviously missing?"

"The screenshot of the mail you put in slide 3 stated that it's not a 100% match but 89%. In addition it stated in the last line a suspected possibility of a familiar relation. I am disappointed, Drake. That you would miss something this obvious."

"What?" Tim whirled around going to the slide to reread the mail.

"Considering that I am pretty sure, we don't have any sort of cloning case here Tim." Dick started his voice now slightly laced with Humor and Tim narrowed his eyes at his older brother over his shoulder. "You just discovered that you had a twin, that we probably still go to rescue."

Tim's mouth opened and closed like a fish out of water. He did not know what to say and before he could even catch up with what his brothers had said Alfred was already behind him pushing him towards the elevator.

"It is time for you to get some sleep Master Timothy. I am sure Master Bruce and the others will be perfectly able to handle the rest of the situation with the information you compiled. You can join them after you have rested."

[saintsenara]

Riddle’s extremely fearful and aggressive reaction to Dumbledore when he thinks he’s a doctor (and the fact that he assumes this at all and believes he is being lied to) has some pretty dark implications (which of course no one follows up on). Do you have thoughts?

thank you very much for the ask, anon!

and yes - this has occurred to me too... which means that my thoughts come with a trigger warning for the sexual abuse of a child, and are under the cut.

the relevant scene in canon is, of course, this:

“I am Professor Dumbledore.” “Professor?” repeated Riddle. He looked wary. “Is that like doctor? What are you here for? Did she get you in to have a look at me?”  He was pointing at the door through which Mrs. Cole had just left. “No, no,” said Dumbledore, smiling.  “I don’t believe you,” said Riddle. “She wants me looked at, doesn’t she? Tell the truth!”  He spoke the last three words with a ringing force that was almost shocking. It was a command, and it sounded as though he had given it many times before. His eyes had widened and he was glaring at Dumbledore, who made no response except to continue smiling pleasantly. After a few seconds Riddle stopped glaring, though he looked, if anything, warier still. “Who are you?” “I have told you. My name is Professor Dumbledore and I work at a school called Hogwarts. I have come to offer you a place at my school - your new school, if you would like to come.”  Riddle’s reaction to this was most surprising. He leapt from the bed and backed away from Dumbledore, looking furious.  “You can’t kid me! The asylum, that’s where you’re from, isn’t it? ‘Professor,’ yes, of course - well, I’m not going, see? That old cat’s the one who should be in the asylum. I never did anything to little Amy Benson or Dennis Bishop, and you can ask them, they’ll tell you!”

the surface-level reading of this scene - which is clearly what the text wants us to go for - is that riddle thinks he's about to be institutionalised for being "mad" - and, specifically, that he thinks that what dumbledore has been told is his "madness" is actually his magic.

[he is also clearly meant to be read as panicking a little bit that he's fucked around torturing his fellow children and is now about to find out...]

that riddle accepts he's a wizard so easily - and that he is so reassured by dumbledore agreeing that he's not mad - is something the text wants us to read as sinister. him immediately describing himself as "special" is set up as a precursor to the adult voldemort's delusions of grandeur - which the entire arc of the series, ending in his death as an ordinary man, is designed to undermine.

but i've always disliked this reading. the eleven-year-old riddle - a magical child raised around non-magical people - is objectively correct to describe his powers as "special" [in that they make him identifiably different from the crowd] within the context in which he lives. the word choice is nowhere near as deep as dumbledore decides - he's clearly known since he was very young that he's a wizard, but he didn't have the precise language to describe this fundamental part of himself until dumbledore offered it; prior to that, "special" is a perfectly reasonable alternative term.

and, in always knowing that he's a wizard, he also knows that he doesn't have a mental illness - but he must also know that this is something it's near impossible for him to prove.

in the real world, if i spoke to a patient who told me:

“I can make things move without touching them. I can make animals do what I want them to do, without training them. I can make bad things happen to people who annoy me. I can make them hurt if I want to.”

then i would be correct to describe them as experiencing psychosis. and i might - depending on their other symptoms - have reasonable cause to admit them [voluntarily or not] for psychiatric treatment.

riddle is - of course - demonstrably not psychotic. but it's not unreasonable that mrs cole would assume he is - the world she lives in, as a muggle [even if she's a religious one], is one in which people do not possess the ability to move objects or control animals with their minds, and if one of her charges is convinced that he can, then she's justified in seeking medical intervention.

[that psychiatric treatment in the 1930s can be described without exaggeration as inhumane is another matter...]

which is to say, i think we can easily suppose that mrs cole has - prior to dumbledore's arrival - succeeded in having riddle "looked at", and that the idea that he's mentally ill and should be committed to an asylum has been mentioned before. i think most of us would be instinctively [and angrily] wary of doctors if this happened to us, regardless of how nice the doctors in question were.

and maybe that's all there is to it.

and maybe it isn't...

in the doylist text, the eleven-year-old riddle's personality is the way it is because he's the villain of the series. where harry is preternaturally capable, even as a child, of all the things the series defines as admirable - above all, enduring difficulty without complaint - riddle is preternaturally incapable of them. he's meant to come across as unambiguously sinister - and the fact that the text repeatedly emphasises that he has control over his unpleasant traits invites us to view him as someone who is acting with full agency. that he lives in an orphanage is a trope which the text uses, like a campy horror film might, predominately to underscore how creepy he is - and the text, in keeping with its general lack of interest in states and their institutions, never really prompts us to interrogate the impact of his childhood upon the course his life takes.

[this is despite the fact that voldemort's reliving of the night he killed the potters in deathly hallows is an incredibly accurate depiction of ptsd...]

but it's also the case that the eleven-year-old riddle's behaviour and personality fits a pattern we might expect to see in a child who is being abused, sexually or otherwise:

he's aggressive, he has a hair-trigger temper, and he becomes distressed even by behaviour - such as dumbledore speaking mildly and calmly - which would not ordinarily be expected to provoke such a reaction.

his broader emotional state is fractious. his mood changes sharply, he seems to feel emotions very profoundly, he struggles to control his emotional response to things, he's extremely easily irritated, he's attention-seeking - and he particularly seeks negative attention, and he's very highly-strung. his admission in deathly hallows that he feels calm before he kills - or before he otherwise eradicates a threat or a problem - comes with the flip-side that he's someone who appears, when things aren't going well or he finds himself in a situation which he can't control, to become quite anxious. which is a trauma response.

he's extremely isolated. the text presents the fact that he has no friends as a deliberate choice - "lord voldemort has never had a friend, nor do i believe that he has ever wanted one" - and his relationship with everyone else he ever meets, including his fellow orphans, is defined by the text as exclusively involving him controlling, manipulating, and punishing them. or: he is always the more powerful person in the pairing. but this need for control can be read as self-protective just as easily as it can be read as sinister. there are hints in canon that riddle is not just some malevolent force in the orphanage preying on mild-mannered innocents. for example, billy stubbs, the owner of the rabbit he kills, is targeted by riddle as revenge: “Billy Stubbs’s rabbit... well, Tom said he didn’t do it and I don’t see how he could have done, but even so, it didn’t hang itself from the rafters, did it? [...] But I’m jiggered if I know how he got up there to do it. All I know is he and Billy had argued the day before." on the rare occasions billy turns up in fics, he's usually - i find - written very like neville - sweet and guileless and a bit pathetic. but the alternative reading - especially when we take into account that riddle attacks the rabbit rather than billy himself - is that billy is someone he would be afraid to physically confront. indeed, it's striking that voldemort - at all stages of his life - is described as being quite physically fragile. not only is he very thin, but he's always cold and his heartbeat is described several times in canon as irregular. i think this is supposed to be a comment on the physical changes he undergoes the more horcruxes he makes - although the idea that the soul would affect the heart doesn't actually align with how the series understands the soul to relate to the body - but it can also be interpreted perfectly legitimately as something he was experiencing prior to splitting his soul. i am committed to the headcanon that riddle was quite a sickly child - and that this is one of the things which drives his fear of death - and i'm also committed to the idea that his obsession with magic is because the enormity of his magical power makes up for his physical lack. he can defeat - and humiliate and frighten and remove the threat of - billy or dennis [or even an adult man?] with magic. without it, if they were to physically overpower him, then he wouldn't be able to throw them off.

he is extremely nervous about being alone in a room with dumbledore - someone he doesn't know, and who he assumes is connected to a profession [and, maybe, who knows any other doctors he's been previously made to see...] of which he is frightened.

he doesn't trust or confide in anyone - which, as a child, means particularly that he doesn't trust or confide in adults in positions of responsibility. he's clearly uneasy with the idea of finding himself in the subordinate position in an adult-child relationship when dumbledore offers to take him shopping for school supplies - potentially because he's worried that dumbledore will try and dictate or restrict what he's allowed to buy unless he behaves in a certain way... and i am always very struck that dumbledore says in half-blood prince: "He was very guarded with me; he felt, I am sure, that in the thrill of discovering his true identity he had told me a little too much. He was careful never to reveal as much again." this is presented in the text as evidence that dumbledore is the only person of whom voldemort is afraid - by which the text means that voldemort acknowledges that dumbledore knows that an ordinary man, mortal and unimpressive, lurks behind the mask of unassailable power he has created for himself; and which the text thinks is a good thing. but we can also read it as a self-protective act on riddle's part. in his excitement, he offers dumbledore information [that he is known to be a liar, that he is in trouble a lot, that mrs cole dislikes him and is disinclined to believe anything he says] which would give dumbledore - or anyone in a similar position of power and presumed respectability - cover to abuse him, safe in the knowledge that he would be unlikely to be believed if he reported it.

he doesn't appear to feel safe in the orphanage and he's frequently absent from it - by his own admission, he spends a huge amount of time wandering around london on his own, which may even involve him staying away for several days at a time. nobody appears to notice or care about this.

he's very independent - which the text again presents as evidence of his deliberate self-isolation and rejection of the bonds of love and friendship - and his independence is unusual for a child his age [i.e. that he is capable of doing all his own shopping for school].

his knowledge of violence - i.e. how he designs the trip to the cave to be maximally psychologically devastating for dennis and amy and devoid of repercussions for himself - is also more advanced and methodical than would be expected in a child of his age. again, the text uses this to emphasise how inextricable the child-voldemort is from his adult self - and also, to some extent, to underscore the intellectual brilliance [his magic is also more advanced than is normal for a child] which his narrative archetype [the exceptional villain who is defeated by the everyman hero] requires. but we can also read it as evidence of his own victimisation. a common sign that a child is being sexually abused is that they display a knowledge of sexual behaviour which is more advanced than is reasonable for a child of their age - for example, knowing in detail how a sex act is performed, or fluently using sexual slang which they have no chance of knowing either from age-appropriate settings like school-based sex education or conversations with a parent or trusted adult, or from the sort of enthusiastic hoarding of rude words and phrases all children enjoy as they grow up. riddle's precise, clinical knowledge of how to manipulate, frighten, torture, and control can be seen as something similar. if he can - at eleven or younger - methodically break down another child until they're "never quite right" again, then this is because he's learned how to from someone.

he keeps secrets. and he also goes out of his way to extract them. his grooming of ginny in chamber of secrets - he manipulates her into confiding things she wants to keep to herself, promises he won't tell anyone, and then uses the threat that he will to get her to do his bidding - is an absolutely textbook example of how abusers use the idea of secrecy to control their victims. it doesn't make his abuse of ginny any less inexcusable if we assume he learns this from being on the other side of things.

dumbledore understands his little cache of objects as trophies he's taken from victims - and the text takes the view that dumbledore is correct in this assessment. that hoarding trophies is something widely associated with serial killers means that this is yet another thing which underlines how creepy - and how like his adult self - the child-voldemort is. but it's also the case that the adult - and teenage - voldemort places a lot of emphasis on gift-giving as part of his control over other people. the two most obvious examples in canon are wormtail being given his shiny hand as a reward for helping voldemort get his body back, and slughorn being buttered up with crystallised pineapple before voldemort asks him about horcruxes. the text thinks this is sinister - and one of the reasons it does this is because gift-giving is a grooming tactic. the text also clearly thinks this isn't behaviour voldemort has learned from the other side. and yet a common sign that a child is being abused is if they have possessions it doesn't make sense for them to own [i.e. a child from a low-income background who is suddenly decked in designer clothes] and which they can't or won't explain how they came by. riddle's cache isn't luxurious - although he's so poor that a yoyo or a mouth organ probably is a luxury to him - but there's also nothing in canon which precludes the objects being presents, rather than stolen goods. if the spell dumbledore uses to make the box rattle is caused by a statement which is both relatively ambiguous and dependent on dumbledore's subjective personal morality - is there anything in this room he's acquired through nefarious means? - then the spell would still work as it does in canon if riddle was an abuse victim given the objects as "rewards". dumbledore's tendency to locate right and wrong in the individual and dumbledore's belief that good people should steadfastly endure misery means he can be written entirely canon-coherently as someone who would think a victim who appeared to collude in their own abuse - such as a victim who "offered" a sexual act because their abuser promised them something if they did - was behaving consensually, manipulatively, and nefariously. and it's worth noting that when riddle doesn't know what dumbledore has done to make the box rattle, he is "unnerved". when he realises dumbledore thinks he's stolen the objects - and that he has no interest in forcing him to admit this aloud - he is "unabashed". perhaps because he's just received proof that an experience he doesn't want to talk about is still secret...

on the other hand, the objects could indeed be stolen - because petty criminality and anti-social behaviour, especially in pre-teen children, is also a sign of abuse.

he can be extremely obsequious - when dumbledore tells him to watch how he speaks he becomes "unrecognisably polite", he ruthlessly flatters slughorn, and he is cringingly deferential to hepzibah smith. the text understands this as evidence that his apparent charm is only superficial - another trait associated in the popular imagination with serial killers [and it's striking that so much about the young voldemort - handsome, charming, seemingly quiet and polite, true evil lurking underneath the mask - is exactly like the pop-culture persona which has been created for ted bundy...]. voldemort himself agrees that his charm is performative in chamber of secrets: “If I say it myself, Harry, I’ve always been able to charm the people I needed. So Ginny poured out her soul to me, and her soul happened to be exactly what I wanted." but his obsequiousness is also a fawn response - a way of minimising a threat by attempting to please the person issuing it. he becomes "unrecognisably polite" - after all - in response to this: Dumbledore raised his eyebrows. “If, as I take it, you are accepting your place at Hogwarts - ” “Of course I am!” “Then you will address me as ‘Professor’ or ‘sir.’ ”  Riddle’s expression hardened for the most fleeting moment before he said, in an unrecognisably polite voice, “I’m sorry, sir. I meant - please, Professor, could you show me - ?”  riddle could reasonably interpret what dumbledore says here as a threat to prevent him attending hogwarts - even though dumbledore evidently doesn't mean it in this way - and he switches to being fawning because this is something he really doesn't want to happen...

do i think that any of this is what the text was actually going for? no. and nor do i think that reading riddle as a victim of abuse excuses the violence which the adult voldemort goes on to perpetuate.

but i think it is a reading of his characterisation which is both canon-plausible and interesting - a strange, sickly child with a reputation for cruelty and dishonesty being abused by the respectable doctor who is constantly called in to treat his coughs and wheezes, who buys him little presents and charms him into telling him secrets, who then [to paraphrase the teenage voldemort] feeds him a few secrets of his own, safe in the knowledge that nobody will ever believe him if he tries to get help.

and i also think this a reading which is sincerely important.

a significant contributor to the prevalence of child abuse - no matter what exact form this abuse takes - is that we are culturally conditioned to imagine that both the abuser and the victim will look and behave in a certain way if the abuse is "real".

and this means, all too often, that we take child abuse more seriously when the victim is "sympathetic" - when they're from a stable home, and their family are respectable, and they do well in school, and they're polite and sweet, and they look innocent, and they behave perfectly appropriately for their age, and nobody would ever dare to say that they come across as older than they are, and they're white, and they don't have a history of lying, and they don't have a history of attention-seeking, and they don't have a criminal record, and they're not abusive themselves, and there's absolutely no way of suggesting that they colluded in their abuse, and the perpetrator was someone who looks like a child abuser.

someone who is creepy, low-status, ugly, unpopular. someone who everyone can tell is socially abnormal, someone who nobody would ever intentionally permit to be around their children. not someone who is charming, well-respected, attractive, rich, popular, trustworthy. not someone who has a loving family and a happy home. not someone we might be friends with.

but many perpetrators of child abuse are these second group of people. and many victims of child abuse are "unsympathetic", when their social positions and reputations are compared to their abusers' own.

they lie. they steal. they're attention-seeking. they're vindictive. they have trouble distinguishing between imagination and reality. they're violent. they're bullies. they hurt animals. they abuse other children. they take drugs. they're mentally-ill. they come from broken homes. they're in the care of the state. they're dirty. they're poor. they're odd. they're behind at school and badly-behaved in the classroom. they do things which allow their abuse to be dismissed as something they brought upon themselves - they speak or dress in certain ways, they pose provocatively in pictures and post them on the internet, they are known to be sexually active outside of the context of their abuse, they lie about being over the age of consent, they engage in sexual behaviour with an adult abuser in a way which appears [even though it isn't, and there's never a circumstance in which it will be] to be consensual or for their own personal gain, they are flattered by the attention they receive from someone who is important or attractive grooming them, they have complicated - and not always wholly negative - feelings towards their abusers.

and they are still - unequivocally - victims, and what happens to them is still - unequivocally - abuse.

tom riddle is an unsympathetic victim - not only of any potential abuse, but also of the horrors of his life which are explicit on the canon page: that he is raised in an orphanage; that he is grieving; that he knows nothing about his family; that he is thought to be mad.

the absence of any institutional response to his childhood experiences - dumbledore, by his own admission, discloses nothing about riddle to his fellow teachers - is a flaw repeated again and again in the worldbuilding of the harry potter series.

hogwarts - and the wizarding [and muggle] state more broadly - doesn't intervene in any case of neglect or abuse, from harry to snape to voldemort's own parents. the series' individualistic morality means that we aren't supposed to interrogate these collective failings. and the series' black-and-white view of good and evil - and its general belief that violence is fine if the person it happens to "deserves" it - means that it has no interest in examining the ways that poverty, isolation, and neglect are risk factors; that straightforwardly unpleasant people can still be victims; that victims can go on to become perpetrators without their victimhood ceasing to matter; and that the abuse of children usually takes place not in silence and secrecy, concealed in ways which make it fine for adults not to notice it and not to intervene, but in plain sight.

this is knowledge it never hurts to refresh. thinking about lord voldemort's childhood might be an usual way of doing so... but it is an effective one nonetheless...

[fangedhorizon]

I absolutely love the idea that Claudia’s actress change between s1 and s2 is also because of Louis as an unreliable narrator. While yes, it can be said that it was due to Bailey Bass going to work for avatar, I think it also does wonders for the story.

Through the interview, Louis is beginning to piece his memories into a more full, coherent picture. He is losing some of the bias from emotion and inconsistency from memory as he relives his past. Therefore, the change of Claudia between seasons could still be relevant for the plot.

In the first season, Bass’ Claudia looks more like their child. Of course, interracial couples can have kids of all different shades (I am mixed myself), but it’s interesting to consider this Claudia as an unreliable construction within his memory. This Claudia, the one he reminisces during his ‘golden years’ before everything went downhill, looks like she could be their love child if biology allowed it.

As the fruit of the disaster that is them, the peeling band aid holding together a dying marriage, it wouldn’t surprise me that Louis remembers Claudia as looking like both him and Lestat. She is both the best and worst parts of them, sharing a mental connection with Louis (literally) and an emotional one from his coddling. Yet, she inherently acts like Lestat as well. Much to Claudia’s dissatisfaction, she cannot escape his likeliness, cannot help but think like him. She uses this to her advantage at the end of season one, but knows he will return because of Louis’ fragility.

After being turned while grieving Paul, all Louis knows how to do is love, and protect. But he cannot protect Claudia from her fate, which Lestat tries to tell him. By possibly envisioning her as a more traditional mix of the two of them, perhaps Louis is trying to offload some of the blame and guilt to Lestat, while simultaneously knowing subconsciously that he still played a major role in her doomed existence. Claudia is the byproduct of two broken hearts desperately trying to heal, which the dark gift does not allow.

It was never about her.

In the second season, she resembles him more as he comes to terms with his involvement in her death. Or, she has taken on a less biased appearance as Louis becomes less unreliable. Or, the memories are so vivid that no amount of self-preservation could alter her, leaving Louis’ guilt to construct her image. Perhaps he sees himself in her, or sees his family in her, sees Paul in her. He couldn’t save her, just like he couldn’t save Paul.

His nurturing nature within his retelling is thrown into question as he experiences neither her birth nor death, yet Lestat witnesses both. Louis is blinded by his pain, the ache left in his heart from his inability to protect, whilst Lestat must watch as the child he loved and detested (not in equal parts, I will die on the hill that Lestat loved Claudia in his own fucked up way, one that he learnt from Magnus’ torture) be birthed without her consent and die without her consent.

He must watch on as his fledgling achieves what he never could - true love. He must watch her sing, still serving a performative function in her last moments. She is nail glue for their dying relationship, then she’s a crowbar from a shitty marriage, she is a weapon to protect Louis from the world and himself, only to be a doll, positioned on stage as the crowd puppeteers her demise.

Claudia was never her true self in Louis’ retelling, nor will she be in Lestat’s. Even in death, Claudia only serves a function for storytelling, unable to give us her side of the story. But how could she?

It was never. about. her.

[thegoldencontracts]

ONE OF MY TWST OCS IS A TOTAL TSUNDERE WHAT THE HELL

Make twst tsundere content, I DARE you(I'd say I'd match you with content of my own, however it is drama and science finals week and I'd rather not burn myself out on more than one front bc my english final is next week. So I will not guarantee that lmao BUT STILL THAT SOUNDS AWESOME MAKE THAT CONTENT I WILL EAT IT UP)

- thoughtlessdesires

THANK YOU SOMEONE ELSE WHO UNDERSTANDSSSSS

Hello, you there, yes, YOU 🫵 can help make tsundere twst by uhh... idek man it's tsundere twst,,, it's cuteee i swearrr imagine THIS:

I-It's Not Like I Like You!

Summary: The Housewardens deal with their affection in the oddest of ways.

Notes: This is a taste of what we can make possible GUYS tsundere!twst is cute and it's not ridiculously ooc or smth like that i SWEAR- Also the last sentence in Azul's part is literally ripped straight from the third part of his dorm vignette (the tsundere potential of this man is so understated guys PLEASE let me yap here I have a point-)

Night Raven College; a place of raw meritocracy. Sentiment is rarely found, and affection is often mocked. Logic and strength are meant to take priority, and discord between students is common.

So what happens where these students find someone who treats them with kindness, understanding.

...Completely flounder, of course.

The housewardens, during one of their meetings, even discussed the dearest Ramshackle Prefect, so odd, so understanding. Kalim had brought the topic up, of course.

"...Why's this important?" Leona had said, a bored look on his face.

"I-Indeed," Riddle said. "The Prefect isn't particularly relevant to our current topic of discussion, regardless of accomplishments."

Azul sighed in his typical, overdramatic manner of his.

"How cold!" he said. "Kalim was merely doing his duty to discuss the needs of all students, regardless of how-"

His nose wrinkled.

"Talentless."

"Well, the Prefect's not that bad." A lukewarm praise. Even Kalim wasn't speaking highly of the Prefect? Just what was going on here?

"A total normie," Idia had said.

"It's true, the potato could use some work," Vil said,

Wow. These housewardens sure did hate you, didn't they?

Wrong! At that moment, all of the, were lying! They liked you. And no one in that room had any clue how to deal with it.

Riddle hasn't ever really got to experience relationships due to the stifling pressure of his mother. Thus, he has absolutely no clue how to handle the sudden affection for you he feels. He'd often stop by Ramshackle to help you with your homework. Just because you happened to need it way more than the others, of course. N-No ulterior motives here. What do you mean 'his face is red'? You're just imagining things!

Leona's always been treated like a cold, uncaring individual, and that's what he's used to. That leaves him completely flabbergasted when you suddenly start making him lovesick. He happens to "accidentally" drop money and the like while you were near. Not that he wants to help you, of course! He just doesn't really care about the money that much. Why're you looking at him like that? He's not that kind of sap!

Azul's childhood's left him used to rejection. After so long of being mocked for any desire of love and companionship, he's shunned it. Love's just business to him, an easily exploitable emotion. So he'll never be able to admit it now that he's the exploitable one. He gives you stuff... for free? Since when did he do that? Ask him about it and he insists he's just doing it for business' sake. What kind of business? Is he sure he doesn't just like you? W-What sort of foolish questions are those? Do you honestly think him capable of such an illogical sentiment as "attachment"?

Kalim, of course, isn't immune. Even he doesn't understand this. Someone actively returning his kindness? He's absolutely in love, and he doesn't know how to handle it. Although he won't be quite as abrasive as the others, he'll definitely struggle to admit his feelings. He might actually be less nice to you than to others. Not in a rude way, of course, he's just a bit quiet because he's always so flustered around you! Can you blame him?

Vil, too, despite his normal mentality of being candid and mature, struggles to handle his affection. He'll buy you skincare and the like. B-But, he'd do this for anyone, of course. There's nothing particularly special about the way he feels for you! Once again, though he isn't particularly defensive, he'll definitely struggle to admit his feelings, and it causes him boatloads of internal conflict. Why's he being so immature all of a sudden?

Idia doesn't get you. Why'd some normie suddenly have to start talking to him? J-Jeez, it's not like he enjoys your company or anything! Idia can vaguely recognize the word 'tsundere' in his head as he mulls over his interactions with you, but he denies it. Denying his feelings? U-Uh, what feelings?

"Looks like you have some competition, huh?"

"What competition, Lilia?" Malleus's face twisted in displeasure. "The Child Of Man- they're merely a friend."

Malleus doesn't know how to feel. He's never really had these sorts of close relationships before, so when his heart pounds around you and sparks seem to fly, he has no clue what to do. He's so deep in denial, partially due to his obliviousness when it comes to matters of sentiment and partially due to how he's used to being intimidating, and blushing like a schoolgirl around one's crush is the opposite of intimidating.

[kacievvbbbb]

I’m not someone that particularly cares about a ship being canon or not, in fact I would rather the media I consume have no romance at all (giving my blog confusing yes I know)

But there is something about the canon ties between Shanks and Mihawk that drives me feral with need to see what their whole deal is.

Because like there are so many little inconsequential details that when taking separately seem pathetic and weak. But then put together it feels like it paints the picture of a larger undeniable connection and understanding between two wildly different men.

The fact that their main color is both red (Mihawk’s is a more wine dark red than Shanks’ bright red and a little more “subtle” given that Shanks is literally called red hair) but even then their main symbols, their identifying features, are red! Mihawk’s eyes and Shanks hair (yes while I love the gold and think that’s better I cannot ignore the fact that Oda consistently colors in Mihawk’s eyes red even though the gold is infinitely more popular)

They have the same birthday, are practically the same height, both with the promises to our two main protagonists to meet them at the top with a parting “gift”, both serve as a mentor to the protagonist (mihawk literally thought zoro how to kill him 😭), both with the bird(ish) iconography.

The fact that Mihawk, Mihawk! A man whose introduction was that he didn’t care much about anything and caused destruction on a whim, cares enough about what Shanks thinks to mentally apologize before trying to kill luffy (what the fuck).

The fact that whitebeard felt the need to reference his duel with Mihawk in his conversation with Shanks, despite not really being very relevant to the conversation and the fact that this is the first we’ve seen shanks in years and it is brought up in the same context as his relationship with Buggy (an already established relationship) reveals his relationship to Roger seems to point to the fact that this duel between Mihawk and Shanks is an important relationship to shanks. It couldn’t just be to show strength because he was about to clash with whitebeard the strongest man. It’s also hard to notice that those two relationships didn’t end particularly well for shanks.

Also the fact that it was Mihawk out of every character , Mihawk that brought luffy’s bounty to Shanks. Something he obviously knew would mean a lot to him. I used to think the scene was just there to show us how big a deal Shanks actually is like look at that fun childish alcoholic gang inspired our main hero? He’s actually a super big deal and he used to spar with the strongest character by far we had seen at that point (it wasn’t even close) and they fought on equal footing. It added a new layer of mystery to Shanks.

But it’s also the fact that even now with Mihawk’s bounty Shanks was mentioned and he’s the only one who this was mentioned for. Crocodile is just for his df and intelligence and they don’t mention that he literally tried and almost succeeded in subjugating a country and he was beat by luffy “or smoker given how many marines actually know the truth” even buggy who was literally Shanks’ sworn brother under the pirate king doesn’t get a mention like that. But Shanks and this duel is so integral to Mihawk’s character that it’s mentioned along with the only other long lasting fact we know about him and that is that he is the World’s Strongest Swordsman. Isn’t that fucking insane.

And like I feel insane scrapping all these details together as proof of something because they are all (besides the duel) the barest bones of a connection but god it is actually driving me insane.

And I’m not saying Mishanks is going to become canon or that it should or that I even particularly want it too. What I do want is to see how deeply these two are connected. What are these red strings of fate tying them to each other. Why can’t apparently ten years of little contact sever it? I swear to god if it’s actually nothing much I will lose my fucking mind. If nothing ever comes of all of this I will actually go insane. How can some people look at this and not see foreshadowing!?!?!!

[wildmelon]

things that are bothering me the most:

antaam stuff makes no sense, full stop. it's also explained poorly/insufficiently.

most of what we see of rivain is completely uninhabited. i also don't care about more warden shit there, i was looking forward to more lore on rivaini people and culture, especially the seers obviously, we've been dying to know more about them for three games.

every elf we've met is ok with the huge revelations that their gods aren't what they seemed and this process happened offscreen. i would think there would be many different reactions to the spread of info about the evanuris, and i would think it would be extremely important to make it clear that info had spread pre-game.

the venatori are the same nonsensical vague useless boring cult with the most nothing goals. as incredibly lame as they are, it's even stretching my suspension of disbelief that they'd serve elven gods for vague promises of 'power' given tevinter's extreme history with the elves. i would think this would come up at least one single time.

the past two points are part of an overarching issue. the contentious and complex political landscape of thedas that makes the setting interesting feels flat. i'm supposed to believe NO ONE in super-elf-racist tevinter would blame the elves for their gods terrorizing thedas? even inquisition acknowledged this, w solas/inky showing concern that revealing the orb was elven would lead to elf racism.

i'm supposed to believe NO elves who've been oppressed by humans for centuries would think 'fuck them' and join up? what happened to the elves who joined solas at the end of trespasser when they heard he was trying to bring back their empire? at least inquisition had wacky cults for every side.

walking down the street in minrathous as an elf or qunari with no difference is simply absurd, i would literally rather never visit tevinter if they were going to implement it so toothlessly. where is the immediate opinion hit for being a mage/elf the inky takes in orlais???

yes the tone is off and a little shallow. yes the companions communicate too healthily for my tastes. yes i was dreading 'evanuris are behind everything' lore reveals and that's what we got. but i honestly think i could overlook those things if the above problems were solved and it felt like the same immersive, problematic thedas.

i'm so completely infuriated by the worldstate choices i'm going to make a separate post about it. but yeah i was concerned but made no noise, i was willing to wait it out and see how the three choices played out in game. and it's absolutely ridiculous that so far two out of fucking three have basically no impact, and the last one idgaf about unless inky romanced solas. i'm so so so so mad and disappointed about this, especially after staying open-minded when it was initially revealed.

everyone loves companion quests, so i don't know why the game feels like it needs to sell you on their significance. why did we get two different scenes of varric spelling it out to rook: do the companion side quests, or else they won't be able to focus! it's such a weird and superfluous tie-in. i don't get why they went so out of their way to clarify this when it didn't need to be clarified, companion side quests are expected in rpgs and their relevance to the plot is very easily accepted/overlooked.

[shiki-jin]

YOUR CELESTIAL MAJESTY • SAGAU

(part 0 here)

was listening to TruE on loop while writing the last part of this, it's genuinely such a good song ugwvdya

also can you spot the contradiction ;D it's plot relevant i promise

not proofread, dont bully me ill write a thesis on why youre a meanie

—

you had long deleted genshin, since you had other things to do. you had wanted to go back to the game for a while now, now that you were less busy, but there was just one little problem.

it was now taking up nearly triple the amount of space that it was when you uninstalled it. around 300 whole gigabytes.

jesus christ, what phone can even handle this???

your phone, apparently. because as you opened the game to see if maybe a miracle would happen and that if maybe they would just, like, remove half of the things in the game, it just… kinda loaded?

no installing new files, no checking for anything, no nothing…. just an immediate pan to the gates of celestia.

you decided to check if it was the right genshin since this was just way too weird, but countering your judgement, every link you found led you to the same game, leading you to believe it not to be a bootleg or an illegal version.

guess i’ll trust it then.

you clicked on the gates which opened smoothly, and your screen turned white. then, the symbols of the seven elements appeared in gray.

and then the game just… opened. no loading time, once again. no getting stuck on the geo symbol, nothing. nada. just a smooth entrance into what you had to assume to be teyvat — but your surroundings didn't really support that claim.

the grass was brown and just looked off, the sky was gray. a darker shade than, say, mond’s walls, but it was like one of those game crashes.

well, except you could still move around.

you moved your current character around (the traveller? since when were they the only one in your team?) and decided to open the map after not figuring out where you could possibly be.

hold on, this is springvale? since when?

eveything looked dead, like it had been rotting for a century. you tried to ignore it though, and teleported to the inside of mondstadt. surely this was just some glitch, right? one that would fix itself if you teleported?

maybe the world loaded incorrectly, maybe the fact that nothing took time to load meant that it couldn't load, maybe this or that, maybe…

maybe this really was how the game looked normally. you hadn't done any quests though, so you wondered if it could be restored.

you took a screenshot of the your surroundings — the stone, worn down and dirty. the houses which looked to be in a horrible state, and… the npcs, all sickly and pale, like they were starving.

you went to reddit (yes, reddit), and posted the screenshot, asking if it was normal.

you closed the game and decided to take a nap, too tired to really deal with this shit any further.

while you slumbered, people replied to your post.

╰┈➤ lol me too anon, me too

╰┈➤ isn't the game closed or wtv? how'd you get this wtf

╰┈➤ they're trolling

╰┈➤ o makes sense oops

╰┈➤ So we’re all still mourning huh

╰┈➤ jokes aside that's a super impressive edit ngl

you remained unaware of the truth, but you'd find out soon enough.

actually, you'd find out now, apparently…

what the fuck?? why is my bed so hard now?

you groaned and forced your eyes open, seeing a dark, nearly black sky.

the only light was a single star, lingering right above you.

“since when was i outside...?"

a voice spoke to you, answering your question.

“you always have been, have you not? but would you like to head inside, my lord?”

... huh? i recognize that voice...

—

p.s. place your bets on who it is, i’m thinking of one specific character but if there's a fan fav i'll make it them instead since i haven't written anything beyond this point (⁠・⁠_⁠・⁠;⁠)

p.s.s. don't expect updates to this series too quickly, i wish i could write as quick as i think of ideas but sadly that's not the case orz

[physalian]

Writing Exposition (Or Turning a Textbook into a Story)

Exposition concerns every facet of your work from character descriptions, backstories, and relationships, to world history, geography, religions/faiths/superstitions, politics, and current events. Whenever the author takes an aside to say “Joe, Bob’s second cousin, said ‘hello’,” the exposition is establishing that Joe is Bob’s cousin.

So shaming a story for its poor handling of exposition is like shaming a movie for bad visual effects. Yes, some of it is probably bad, but I guarantee that you did not notice every single VFX shot in the movie, and you weren’t supposed to.

Most examples of bad exposition occur when the following happens:

Informed Character A exposits to Informed Character B and tacks on “as you know” with full sincerity

Random Important Detail gets dropped in conversation that does not fit the tone or direction of conversation

Character suddenly monologues about The Thing unprompted

Convenient Breaking News Alerts

Character, out-of-character, begins monologuing about The Thing even when prompted

The pacing screeches to a halt so the Exposition Train can thunder past

Exposition exists to give information, and in order for a reader to understand a story, not all of it can or should be agonized over making perfect. Settings have to be established. Character names and relationships have to be understood. “Telling” over “showing” is, in my opinion, perfectly fine when the “showing” would take more lines, effort, and priority over a single inconsequential sentence. Heck, sometimes the “telling” is better than the “showing”. The trick to understanding when, how, and to what degree to give exposition is making it motivated.

What is motivated exposition?

See this post about character descriptions and the plight of the cliche “mirror” trope for unmotivated exposition.

Motivating your exposition means giving it a reason to exist where it does, prompted by the story you’re telling. Citing the “mirror” trope: I can have my character wake up and describe themselves to you, but in doing so, that rarely tells the audience anything more than just what to picture as they read. Or, I can have my character description spread out as those details become relevant. They’re describing their hair color and texture as it begins to irritate or distract them, telling us both what it looks like, and what our character thinks of it, and a little bit about their personality in how they treat it.

I can open the first chapter with a long-winded editorial about the long lost king destined to unite the shattered kingdoms, or I can wait until the tale becomes important to my characters to tell.

I can spin tapestries about politics before you’ve even met your hero, or I can wait until those politics begin to cause the hero problems and then invite the hero to talk about why those politics cause problems.

See this post about pacing and ensuring your scenes always do at least two things at once. Motivated exposition takes bland information’s singular purpose (to inform) and gives it flavor in coloring the personalities of the characters who give and receive it.

When to give exposition

Caveat: Not all front-loaded exposition is poorly-handled. Everyone loves the Star Wars title crawls because they’re a part of the episodic movie experience. Whether it’s a cheap way to deliver information is irrelevant.

Most prologues exist to front-load exposition and, because I love using Lord of the Rings as my shining example in every post, the trilogy opens with a lengthy speedrun of the main villain, some of the important pieces on the chessboard, the importance of the ring, the smeared reputation Aragorn must live up to and repair, and an idea of the stakes should the heroes lose. Not only is it a prologue, it’s a narrated prologue. There’s an impressive amount of information given in not a lot of time.

Last Airbender begins every single episode with a reminder about the 100 year war and the aggression of the Fire Nation and the purpose of the avatar.

With that said, prologues and title crawls are their own tangle of weeds.

As I said above, exposition should be given when the story gives it reason to exist. Don’t talk about the politics until you have a scene where discussing politics is relevant.

If you need to establish your cool, unique magic system, wait until you have a character using that magic and give it in little chewable bites. That character likely isn’t using every trick in the book right then and there. If they wrote Last Airbender as a novel and started explaining the other three bending styles the second Katara levitated some water, it would read sloppy and slog.

Or, leave the exposition as a mystery to be told later. Make your audience crave the hero’s backstory, piecing together little hints throughout the narrative until just the right moment comes along where your hero would realistically start spilling the beans about themselves. Have other characters frustrated at the lack of information. Have other characters missassume and be wrong about the information they think they know.

Have your characters crave knowledge about their world as much as your audience does.

How to give exposition

Exposition can be given three ways: Via the narrator, via dialogue, or via images or texts observed by the narrator (think news broadcasts or the front page of the paper, books, letters, videos, diary pages).

No matter which avenue you give exposition through, the less random it is, the less “hand of the author” the audience sees. Characters given a lucky break by a convenient breaking news alert is a mini deus ex machina —- the heroes do not earn their victory, it’s just given to them. They are not active in the plot making decisions, they are being railroaded by information as it falls into place before them.

Narrated exposition

The narrator’s internal monologue will interrupt the story to explain whatever needs explaining in that moment. The difference between it reading like a textbook and reading like a story is whether or not this information is important to the narrator.

Meaning, what does my hero feel about this new information? Katniss Everdeen in Hunger Games exposits the entire book because she’s alone for a fair chunk of it with no one to talk to, and she’s no stranger to the politics and history of her world. And yet, she has such strong feelings about everything she says that it doesn’t feel like she’s just giving information for the sake of informing. Everything she says and how she says it reflects on her personality and how she views her world.

Dialogue exposition

When Katniss is clueless about the tribute parade process and all the nuances of Capital life, how she asks about this information and how Effie, Cinna, and Haymich tell her also speaks to their personalities and biases about what they’re saying. In essence: Their exposition is in-character, and, thus, services their characters.

This is the complete opposite of when two informed characters exposit to each other information both already know for the sake of the audience because the author has no other way to give said information. A prime example is the hero happening to overhear two minions discussing The Plan dropping lines like “as you know” (which makes it worse every time).

The only time “as you know” works is when it’s in character. As in, the villain expositing to their minion they think is stupid and the minion reacting to that assumption appropriately. Or, the heroes are gathered to discuss The Plan and the leader of the meeting goes “as you know” because that happens in the real world. Bonus points if some characters are irritated by the redundant recap.

Exposition via dialogue also opens the door for lies, half-truths, and characters simply being wrong or blinded by their biases. Or, characters simply being ignorant of the world they live in. In Lord of the Rings, Gandalf is like 3,000 years old and has been all over Middle Earth. It doesn’t break the plot to have Gandalf exposit because he would realistically have witnessed or have deep knowledge about historical events and politics. Aragorn, too, is 87, and has ranged all over the place. He’s the future king and thus had better know his history and politics. Aragorn expositing makes sense.

Say what you will about Last Jedi but it has a prime example of nuanced exposition: Kylo Ren and Luke Skywalker have incredibly different perspectives on if/how Luke attempted murder on his nephew. There’s 3 sides to every story and the audience is never shown the truth. Had this been given in the title crawl, it would have lost much of its potency.

Dialogue also nurtures the relationships between the characters talking. Telling stories brings people together. If a character is sharing their backstory, why are they telling the narrator, and what does this mean to them as they tell it? If a soldier is sharing his grizzled leader’s backstory around a campfire, how does his relationship with his leader impact how he tells that story, what language he uses, how he sounds, the expressions on his face?

Third party exposition

Information given from an object can be incredibly hit or miss, depending on how hard the heroes worked to obtain it, and whether or not the object in question is meaningful to the heroes.

In the Assassin's Creed games, you abandon the gameplay in whatever historical era you're playing in to watch cutscene after cutscene of exposition (specifically referencing the Ezio Trilogy) by characters no one cares about, giving information that no one cares about, when we'd all rather just keep playing the game.

You can literally have a character read from a textbook, logbook, or daily minutes. What matters is how that info reads, and how the character responds to it. Is the information prejudiced or saturated with bigoted language? Is the mere existence of it where it is horrifying?

In the Mines of Moria (Lord of the Rings) Gimli learns that all his kin have been murdered by goblins once he sees their corpses all impaled with goblin arrows. Later, he finds his dead cousin’s crypt containing a dead dwarf cradling a book that tells of the downfall of Moria. The log entry isn’t finished, and the penmanship rapidly degrades as the dwarf writing it likely dies from his wounds, ending with the ominous, “We cannot get out, we cannot get out, they are coming.”

Had Gandalf warned Gimli ahead of time that all the dwarves were dead, or had they never found the crypt or figured out the owners of the arrows and simply were told “oh yeah we’re about to be attacked by goblins, I suspect they’re the reason Moria is a ghost town” that would have lost all emotional impact, and character development for Gimli.

This doesn’t have to be just objects, get creative! Have the hero watch a parody retelling of the Big Event. Have someone tell it like a ghost story around a campfire. Have it be a crazed rant all across live TV that no one takes seriously. Have six different characters remember it differently and all argue over who’s right. Have someone tell it poorly, thinking it “just a stupid rumor”.

When to withhold exposition

Satisfaction is the death of desire and sometimes uncovering the details of an enticing tidbit of information ruins whatever the audience had imagined to fill in the blanks. In terms of “showing” vs “telling” concerning worldbuilding, deciding whether to have a character speak about the information, or actually writing the scene they’re referring to, is entirely dependant on the story you’re telling.

If you are going to write a flashback, or describe a video of the event, that flashback and video has to be *packed* with as much information as you can cram in there as artfully as you can. Flashbacks and dream sequences take up space and entire scenes and settings need establishing so the audience isn’t floating in the ether trying to follow along. Which tends to mean that the meat of the flashback is barely half of the words you’re now forced to read.

Decide how important it is that the audience sees the incident as it happened, versus told in the aftermath through the biases and flawed memory of another character.

Sometimes the fewest amount of words pack the biggest punch. You can have a shattered soldier describe the battle of which they’re the last survivor in gory detail, or you can have them simply say “it was hell” and let the oomph hit in their expression, how their voice cracks, how vacant their eyes look. The injuries they sustained, the traumas visible in how they hold themselves. At that point, the audience can imagine whatever hell they want. At that point, what you are "showing" (the emotional and physical toll taken on the speaker) is likely way more important than the battle itself.

Concerning pacing — no matter how hard you worked on designing your politics and royal lineages and fantasy geography, odds are if that information isn’t important to your characters, it isn’t important to your readers. It’s not motivated.

I love trivia and fantasy maps as much as everyone else, but I like them on the wikis and next to the table of contents, not interrupting an engaging story.

And, give your audience credit where credit is due. How many fan theories stand on the basis of a few scant lines of narration or zoomed-in snippets of background characters (R+L=J anyone?) and pieces of costume? The mystery is what makes it fun, and I just watched the criminally disappointing second adaptation of the Lightning Thief completely robbed of that mystery every chance they had.

—

In short, the amount of exposition isn’t what makes it well or poorly handled, it’s how and when it’s delivered. Inception is my favorite sci-fi movie and the entire script is exposition, but the way it’s given is entertaining. Motivating your details to exist for a reason, to be given exactly when the time is right and not a moment before, is the spoonful of sugar helping the medicine go down.

Make it timely

Make it relevant

Make it important to the cast

Make it earned by the cast

Make it entertaining

[lookforsomeoneelse]

mwehehehehe

ugggghhhhh SUMMER’S ALMOST OVER HOOOOOWWWWWWW

anyway i’m done procrastinating so like. uh. idk. wrote this mostly for me but if yall like it me can do part 2 or something

so you know how normally self aware au’s go something like this:

-reader gets game

-reader plays game

-characters think that reader is god

-player gets isekaied into game

-plot

or something?

well uh

imagine you aren’t the player.

SAHSRAU, but you watch your friend play the game (oh, did i mention you’re an eldritch horror? (not that you know it))

-you don’t exactly remember the date, but it roughly started when your friend started to freak out over Hoyoverse’s newest release: Honkai: Star Rail. they freaked out over the leaks, the beta, everything related to it.

-you, being the busy individual that you were, decided not to partake in these events, as you had your own responsibilities and interests. you couldn’t devote more of your precious time, unfortunately.

-out of consideration for your friend, however, you decided to ask them what the game was all about.

-your questioning starts a rant that lasts a little longer than you would like it to, where you get a brief summary of Honkai Impact 3rd before they tell you what they know about Star Rail.

-about a year has passed since that conversation, and a lot happened.

-most relevant to the story here, your friend has been diligent in their gameplay of… what was the game called, again? …ah- yes, Honkai: Star Rail!

-they’ve told you about the fun they’ve had and the challenges they’ve conquered; their greatest achievement being the completion of MoC 11, you think they called it?

-anyway, you’ve just noticed that you’ve been pinged a bunch by… your friend? kind of weird, but you open up discord and see what’s causing all the commotion.

-you find out that it has, in fact, been one year since the release of Honkai: Star Rail, and your friend wants to show you all the progress they’ve made over the year.

-they tell you to hop on a call so that they can share their screen. not long after the message is sent, you get a prompt and a little ring with your friend’s username next to it. it’s a call.

-eh, whatever. you’ve got time to kill, so you accept the call.

-they’re pleased to see your presence- they share their screen. and so they begin rambling about relics and 50/50s and their builds for their characters. the one they have on display currently is a woman named Ruan Mei.

-you barely have a grasp of what they’re talking about, so you do the equivalent of nodding your head and simply respond “mhmm” to everything they say.

-meanwhile, on the other end, Ruan Mei… to put it in very very very light terms-

-she is not in a good mood. -she’s normally apathetic even with her back turned to one of the most dangerous entities in the universe: an emanator of propagation, and even if it was a replica. it was dangerous. but to her, it didn’t feel like it was.

-that is not at all the case now.

-she feels an overwhelming presence all around her. she struggles to breathe or even blink, in terror of what the being that’s gazing upon her would do.

-her mind discards her research, her purpose- all in favor of thinking of a way to get this gaze off of her, because she doesn’t want it. she originally desired to become an aeon. she doesn’t want to anymore.

-no more.

-no more.

-she can hear whispers weaving themselves into her brain, clawing into her skull and scarring her being.

-and to top it all off, she can feel all of these sensations, akin to a flickering lightbulb ages old, going dark after the long years of shining in the darkness.

-meanwhile, on your end, you’re alt-tabbing to check on other sites, all while listening to your friend explain the game’s lore as best they can.

-what a day it is.

_________________________________________

A/N: ohhhh my goddddddd this toookkkk wwwwaaaaayyyyy tttttoooooo long because life is a bastard

anyway the TL;DR of the au is that you watch your friend play HSR, and while their account isn’t self aware on its own, it comes to life when you watch them. unfortunately, they see you as an eldritch god- H.P. Lovecraft type, and so they start a cult that revolves around you so that you don’t put them in a life of eternal suffering. which basically means that they cause the game to crash… occasionally.

why did i write this? because i’m a bastard, i guess. or maybe it’s because i spend too much time on the internet.

maybe it’s both. who knows?

you wanna use the idea? well, i don’t get paid for this and you probably don’t either. good luck with that.

anyways, this shitass is off to do god knows what yet again!