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airawisteria · 2 years ago

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Before I ramble about Riku and post my ramblings at... some point. Just know that while it might sound like I wanna punch the guy, I most definitely do not. He's honestly one of my favourite characters, I'm just very aggressive towards some of the characters I adore, so think of this as me showing affection through anger? Cool, thanks!

Anyways!! Now that I've rambled on and on and on about Sora and Kairi, may as well ramble about Riku, right? Before we start, Riku's honestly not that bad to draw, his eyes are especially fun since you can, like, mess with the green-ness and blue-ness of his eyes, but not as fun as Kairi (that's prolly cause I'm really used to drawing girls/fem-presenting people). As for his character, he has the most obvious progression than anyone from the Destiny Trio—I mean, going from an asshole angsty teen to a teen who struggles with redemption to someone who'll do fucking everything he can to protect his best friend/maybe crush to some people (including me). But, like Kairi and Sora, in my opinion, Riku struggles with a lot of insecurities. Kairi's comes in with not being able to keep up with her childhood friends/Sora (and protect them/him), Sora's comes from his misconception that he's useless without his friends and Riku's comes from his fear that Sora won't need/want him anymore.

Well, that's at least definitely the case in KH1.

In KH1, we're introduced to Riku as the best in practically everything. For a new player, it'd take them a while just to win against Riku even once which says a lot about the difference in skills between him and Sora. We're also shown that Riku is a cocky little punk that deserves to be humbled, but we also see how much he cares for Sora and how much he wants to explore the worlds with Sora. This is best shown after Riku opens the Door and everything goes to shit—after Kairi's heart's inside Sora, Sora finds Riku and Riku's all like 'join me, we can travel together like this, Sora!' and holds out his hand for Sora to take. And, like when Kairi 'joked' about her and Sora leaving without Riku, Sora hesitates. Riku quickly amends this by saying that Kairi will be there too and Sora almost immediately reaches for his hand, but couldn't reach it. It's here that we see Riku desperate for the first time since the game began—he's doing everything he can just so Sora'll join him. But, in the end, Sora's just a bit too far away to take Riku's hand.

This leads to the two of them being separated and the Kingdom Key choosing Sora instead of Riku. While Sora got the company of a grumpy duck and a sweet anthropomorphic dog alongside an awesome dog, Riku got the company of the antagonists. This, quite obviously, had an effect on how Riku perceived things—he perceived them negatively. And, then, he met Sora and Donald was being a jerk (like him) and, for the first fucking time in his stupid life, Sora doesn't need him, he has others to rely on. And that's just terrifying—the idea that Sora has the option to leave him and he won't be losing much if he does.

Of course, Sora would never leave Riku, but to a guy who has the fear of losing someone he cherishes and the only reason he can think of that would explain why Sora likes him is that Sora needs him. To him, Sora wanting him isn't even an option—so, he'll make Sora need him again.

Riku leaves a confused Sora behind and Maleficent takes the opportunity to use Riku's insecurities to further her own agenda. She reinforces his insecurities to the point where the darkness looks like the best option (it isn't, but Riku's an angsty teen, so it makes sense for him to think that).

And, so ensues Riku's painfully obvious attempts at getting Sora to need him again and get Sora to see him as the better option than Donald and Goofy (even using Kairi at times, i.e. Neverland). Eventually, this leads to the end of KH1 where Riku takes the Keyblade and passes Sora a wooden sword as if to say, "you can't use the keyblade and heartless won't be defeated from a wooden sword, so you must need me now, right?"

It's simultaneously the saddest and meanest thing Riku's ever done all for Sora to need him. But, it doesn't work. Sora has the Beast with him and so, he doesn't need Riku but he sure as hell wants Riku to be his friend again.

Of course, Sora gets the keyblade back and now Riku is desperate. So desperate that he's willing to let Ansem take control of his body all so Sora would need him. Obviously, it doesn't work out and Sora defeats Ansem-Riku, does a self-sacrifice (which is not very fun for any of the parties involved) and it takes this for Riku to wake the hell up and stop Ansem from doing all this.

It takes the end of KH1 for Riku to truly try to be a better person as he helps to close the door with Mickey and Sora. Here, he finally understands that Sora and Kairi are his friends and friends don't just leave you when you're not needed. But, now, something else is festering.

Then, we make our way to CoM where Repliku says some very, very interesting things. For starters, the whole paopu fruit accessory thing with Naminé bloomed the Necklace Theory (which is super interesting, you should go check it out if you haven't already: Blowing Off Some Steam) which adds to this whole thing of Riku thinking that Sora has to need him in order for Sora to stay being friends with Riku. Sora needs him because he can protect Sora, but if Riku can't protect Sora, why would Sora stay with him?

Then, there's the "What, together? That is so like you. You're always trying to worm your way into my heart!" This implies that Sora had tried to befriend Riku first, which tracks with the introvertedness of Riku, but it also implies that Riku cares for Sora more deeply than he lets on. Especially seeing as Sora seems more than confused by Repliku's words, which means that while Sora was just being himself, Riku saw this as him 'trying to worm his way into Riku's heart'—as if that's how Riku justifies how he feels for Sora. I assume Destiny Islands was very comphet (reflecting the real world) which would explain why Repliku was in such denial about the way he thought about Sora and himself.

And, sure, this is all from Repliku's side and not Riku's, but that doesn't mean that it isn't worth looking at Repliku's side of things. Especially since most of his memories were made up of Riku's with Naminé taking the place of Kairi (and Sora when needed), it's just Riku with a couple of adjustments to his memories, so Repliku is a pretty good bet on how Riku felt in KH1.

Now, onto Riku's side of things in CoM.

Here we really see how much Riku's reflected and how much he regrets. In the first room, he's more than sorry for what's happened as seen by his anger when the narrator is being a jerk and calling him out on his stupidity. His anger reflects not only the anger he feels towards the narrator, but himself. The anger he feels that he fucked up and he knows it.

Like I said with Sora, I don't remember much of CoM, but what I do remember is Riku denying the darkness for a while before he ever accepted it. This makes sense—I mean, to a kid who's 15, the only explanation he has for his mistakes is him succumbing to the darkness. If he hadn't, then, he would still be on the islands with his best friends. Of course, this is wrong and so long as Riku can still be himself, then the darkness is just another way of using his powers. I also recall Riku fearing the darkness for this very reason, which, again, makes sense.

In my opinion, CoM, from Riku's side, is about getting over Riku's fear of the darkness and transforming it into something that Riku can use to protect instead of to destroy. He gets to this point through wanting to protect Sora and Kairi. I mean, Kairi's the entire reason he gets to the realisation in the first place, right? (Feel free to correct me if I'm wrong, btw).

So, it makes sense that by the end of CoM, Riku has a grasp on the darkness—a grasp that no one's been able to achieve before. It symbolises his acceptance of the events that occurred because of him and that he's willing to make up for those actions—even if it takes a long, long while. It's also why, in my opinion, Riku refuses to be in a pod like Sora. Obviously, it's also 'cause Riku wants to protect Sora, but I feel like he's accepted his past actions as his and while he regrets them a ton, he's willing to take the chance to redeem himself by his actions now rather than start over again. Though, it's also these thoughts that plague him for the rest of the series, I think.

Because of this want to redeem himself, Riku feels as if he isn't worth anything—he isn't a good enough person who can protect, not when he'd already failed before. Riku's redemption throughout the series has already been earned, but he doesn't believe he has since the actions he did when he was fucking 15 were so bad that he can't look past those actions.

This is clear in 358/2 days where Riku's mellowed out quite a bit and does whatever he can to help Naminé stitch Sora's memories back together, and again, he fucks up. Xion and Roxas lose their right to exist because Riku placed Sora above them. And, while I don't really see how Riku could've handled the situation better with the info he had at the time, I'm sure this only added to the many reasons (to him) that he can't be redeemed.

Plus, in 358/2 he has to give up his appearance to the darkness just so he can get Sora back. I think the main reason why Riku's so desperate to get Sora back is because he's known Sora all his life and if the Necklace Theory is canon, then, of course, he's gonna feel like shit and try to do whatever he can to get Sora back. I also think that Riku ultimately is scared most of all of what Sora thinks of him. He can handle others seeing him as a member of the darkness (showing himself to King Mickey, for example), in fact, he can even handle Kairi, someone he's arguably known for as long as Sora, knowing about him. But, the second Sora might find out, he runs away and keeps himself lost so Sora can't find him.

This is so painfully evident in KH2, I mean, we spend the entire game trying to look for him and King Mickey and once we find King Mickey, we still can't find Riku. This hurts Sora. A lot. And, at the end of the game, the only reason we know Riku helped is because Kairi literally grabbed him and ushered Sora over. And Riku is still hesitant even after Sora finds out.

Of course, I'm not saying Riku doesn't care about what others think (he needs to be reassured by Sora when everyone's about to go to Destiny Islands that no one'll hate him when he gets back), but I feel like Sora is a top priority with everyone else below him, to an extent. I mean, you can't just be like 'Oh, yeah, we can be the darkness and stay here for the rest of our lives and I'd be a-okay with that even though I'd be losing my childhood friends, a friend that's more like a dad to me and just people I care about' and expect me to not think that you don't prioritise that person over a ton of people.

But anyways, all of this is to say that Riku values Sora above others, and I think it's pretty obvious, in my opinion. So, why would it be a stretch to say that Sora not wanting him is his top priority? Well, I don't think it would be.

Now, from DDD onwards, Riku becomes someone who will risk any and everything for his cherished person (Sora). Most notably, becoming a dreameater just because his heart sensed Sora was in danger and was like 'better protect him'. Then, there's the whole getting out of there and going back in and trying to wake Sora up constantly, protecting him constantly all because he loves Sora, be it platonic or romantic.

Of course, this doesn't mean he's gotten rid of his insecurities—far from it. Instead, it goes from 'Sora has to want/need me in his life' to 'why would he choose me over Kairi?'. There's a resignation to it, at least, that's how I feel. Riku has accepted his feelings of inferiority yet it doesn't take him to the point where he's completely comfortable and secure in his and Sora's relationship.

This is really clear in KH3 where Riku is alone with Repliku and he kind of just resigns himself to being on the island while Kairi and Sora are sharing the paopu fruit. I kinda think it's from the end of KH2 that Riku starts to feel properly certain that Sora and Kairi are closer or whatever than he and Sora are. I mean, a letter being sent to Sora with so much of, like, idk Kairi's desire to get it to Sora that it goes from the Realm of Light to the Realm of Darkness and is what opens the door out of there. Like, how is he supposed to interpret that? The two of their hearts are just that connected, to Riku and it would align with the view he has from KH1 where Kairi was literally in Sora's heart. (Though, I view that scene as more of a desperate attempt of Kairi making sure the three of them aren't separated again and Sora warning the same thing, but y'know, that's just me)

This comes up again where he isn't surprised that Sora wants to save Kairi (well, I doubt most of them are, but yeah) and knows that this is a them only type thing and convinces King Mickey to let Sora do this.

But, yeah, those are most of my thoughts about Riku.

Oh! Before I forget, remember the bit where Sora breaks down crying and Riku quite literally sacrifices himself for Sora? Yeah, the guy was willing to do that and against the same (ish) demon tower that is a towering force of the same darkness he didn't like before for Sora. And, may I just say, that it works quite well with his whole 'the darkness is a part of me' story arc, but yeah!!

That's it, I think. I definitely underestimated how much I had to say about the gay idiot that is Riku but I've also probably forgotten a ton of stuff, wouldn't be surprised if I did forget a lot. But, yeah!! Thanks for reading all this if you did, I appreciate it!! :D

#riku #kingdom hearts #sora #kairi #just me rambling #thoughts on riku #kh #kh riku #note to self: replay DDD and CoM at some point

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asoulofatlantis · 26 days ago

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So after some not-so-great time with the newest Sims 4 expansion pack (Life and Death...) and now that I have mostly recovered from my infection (here is to hoping I didn't catch the C-Sickness while my Dad took me along to buy some stuff for Halloween the other day [he didn't know he had it then]...) I guess it is time to return to Daybreak. Not so happily I have to admit, as the game just... isn't as fun as I would need it to be, but we have to get through it somehow.

Sacred ground, huh? And you though Rean had it bad with his love for hotsprings ^^'

BTW... the game was fooling us quite nicely with Risette here. I remember that at some point I was wondering if she was a robot or had at least some robotic parts (like an arm or leg) or something but I assumed you would see joints, like with Lapis and that for sure she would not be able to go into the water like that so easily if that were the case so I dropped that line of thinking very quickly.

I do like tho that Lapis new body also looks completely human at this point. Its really nice. I mean if we have the technique, why not use it for everyone who has non-human parts? Hell, I am pretty sure we could make Georges wish come true and give Victor a completely human looking arm at this point too.

I mean... despite the technical advancement we have in Trails these days, I agree with a big part of the fandom the the technical advancements jumps between the Arcs are often quite unrealistic. But I guess they found quite a nice answer for why Marduks jump in particular was so big in Kai. I like that they bothered to at least find an excuse here.

Its called Genes guys! There is nothing you can do about the size of your boobies! (Which is funny because technically speaking, neither Millium nor Altina should have Genes that defy their proportions. They were never meant to grow like that anyway and yet... huh...)

Think about it! If we knew then what we know now and killed that freaking bastard right here Kuros/Daysbreaks deathcount would be so much lower, its shipcount one ship higher (because we wouldn't lose Dingo) and maybe we could have even skipped on some parts of Kuro 2 and this whole Arc would be so much nicer and...

Van? My dear favorite Spriggan... if in loop 2000 you accidentally bump into this guy... please kill him!

How much luck can she truly have if the man she loves gets blown up in a way that not even a body to mourn will be left? Thats not luck, for sure! (Yes, you could call it luck that she managed to get her tearfull goodbye in the end, despite the bodyless part and I GUESS that IF we manage to avoid all the shit happening in this game in loop 2000 (please Aidios! Have mercy on my pure-player-heart and grand my wishes!) it would also be a shitload of luck to this time be able to have her lovestory... but IF that is going to happen remains to be seen so. I still stand with what I said at first, which is that losing Dingo the way she did is anything BUT luck. (Then again, seeing how she follows him around like this I guess it somewhat IS luck that she did not follow him on that fateful day...)

So he is 27... which means that he is younger than Olivert. If my math works correctly, Olivert should have been around Agates age in Sky which means he should be 30 by now which still makes him younger than me tho XD By quite a few years to boot. *achem* I am sorry, but my birthday draws near and I am leaving the "mid thirty" part and enter the "late thirties" part at that point and its frustrating me quite a bit ^^'

(To be honest, while I do not mind at all playing characters that are younger then me - in fact, I do believe it makes me feel younger myself, so its a good thing - it does depress me a bit that 20 years ago, when I was watching Animes, I was around the same age as the characters, now I am basically the same age as some of their mothers XD)

You know... we had dirty magazines since Crossbell - if I remember correctly - but Calvard really takes the cake with the whole half nakedly poledancing-gig. I wonder what we get in the next arc. Pornos? I would not be surprised at this point - obviously we would not really see them, just get a mention here and there.

Suddenly Ouroboros XD

... I... I can not even say how much I want to strangle NISA right now. They gave Lucrecy a French accent. French! WHY?! Why would they do that? And she sounds so... urg! NO! Why?

ALSO Harvoods voice should be much deeper and more hoarse. It totally takes the edge off of him that he sounds like... this.

It seems odd that she managed to keep that gig a secret from her sister, given how every man in Tharbad must have already seen her on the pole and given how they make money by dancing on the streets its obvious that some of them must have noticed already who she is and there is no way in hell nobody made a comment about it.

You know... if you ever meet Alisa... let her give you the same lesson she gave Rean about Head-Pats. I am pretty sure, just like him, you will learn nothing from it, but at least someone DID warn you XD

People always (rightfully so) say Alisa overreacted after the whole incident with Claire, but look at Judiths reaction to her misunderstanding Vans intention with Saara ^^'

Well first at all: You are NOT allowed to speak in Adios name. You might be friends with some holy shitty saint or whatever but that doesn't make you a Grahlsritter or anything and secondly, Van will end up in Gehenna either way, he is literally a devil XD

Now about that... where have you been when he broke my poor Agnes heart? (Jokes on me, she wanted her heart to be broken...)

#daybreak mona version

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memberment · 4 months ago

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The End Is Near (/ Bound?? Maybe??)

Good morning everyone.

What???

Memberment saying good morning at 9:30??? Instead of going to bed at 9:30??

Yeah I don't fuckin know what happened I went to bed at 3 bc I needed to wake up my approximation to early (1) for a work event and somehow that translated to me waking up at 8.

ANYWAYS. I'M A GOOD CHUNK INTO BOOK 2. I LOVE THEM AS PIRATES LIKE THEY'RE SO FUN.

Updates on this post bc I'm silly. I may duo write today and get more of Bound done because I absolutely need to or I'm gonna start screaming. Also the rest of The End prologue is coming out at some point today (my approximation of today).

Hi guys it's 11:13. I've been going at The End since I got home. I'm 11k deep into book 2. Which is fucking insane bc the og book 2 was 15 (ish)k.

I still have clown makeup on and y'all are gonna fucking HEAR ABOUT IT in my end notes on Dandelion LMFAOOOOOOOO

11:40: I'm here to rant about something else but it's not even really just a rant but an observation I need to share. I don't rlly give a shit about my stats, I just like to write yk. But it is insane to see that Eclipse gets such a wild amount of attention even on not post days (it is popping off today, hence my thought bc I haven't given this much thought previously) compared to everything else. Which is crazy to me because I put, like, a month of blood sweat and literal tears into Dandelion and it's not doing as well and I literally wrote the entirety of Eclipse in four fucking days out of spite because someone said something that mildly pissed me off.

And now I'm thinking about it and I genuinely miss writing whole ass fics in the span of under a week. I need to take on shorter projects after I finish all of the fucking monsters I'm working on. Like Ca$h4Cultz and A Girl and Her Dog NEED TO FUCKING HAPPEN!!!!! (I love both of these concepts so much and they're both so bad but I will be standing by them as they get posted under my pseud.)

And now I'm sad bc Morning Glory? Probably 200k. Maybe more. Probably more.

Trinitarians? 250k. Easy. And that's not to mention the art that IS LITERALLY A PART OF THE FIC. (Yeah, you guys are MVP so if you're actually reading these and have yet to catch on, heads up. The art is part of the fic. Like, it's not art to go with the fic. It is literally PART of the fic. And it's not super important, but those invisible messages suddenly make way more sense. (If someone actually catches it before I explicitly state it, I will lose my shit LMFAOOO.))

Princess of Fire? Probably another 150k.

And The End was 90k but now it's probably gonna be something like 110-120k.

LIKE HELLO???

I just wanna work on short bangers that don't feel like I'm taking years to write LMFAOOO I MISS THE OLD DAYS. (I was literally writing short bangers a month ago idk what I'm on about, time is weird.)

AND THAT'S NOT EVEN MENTIONING KEEP LOOKING. (I am not working on Keep Looking for a while though because I honestly didn't wanna fuck it up while working on huge projects that I preferred working on, but it is not getting abandoned. Y'all will get your AO3 paladin eventually)

1:42 am update: hi friends I'm going insane how do I write and draw for genesis at the same time

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5nikki · 6 months ago

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Day 3: i forgot to post :(( anyways, I feel a bit better since I'm finally gonna have a summer break, ik I will do nothing but I'm very happy of not going to school for a month ^_^ it is something very good for me! I want to draw as much as I can on summer break since I haven't practiced in a while and I'm not that good at art tbh. But I try my best and I love drawing, it stresses me very much but it's very fun! I haved a big problem yesterday with my dad and I ended up cutting myself, it still hurts a bit but I'm feeling better after it. Ik it just hurts me more physically but I don't really mind it, I'm already fucked up so I don't really mind if one day I end up dying for my own fault. I'm very happy of having a life tbh. I enjoy every food of every single day because I know I don't really have any future in this world and I know that, some day I will just cut myself so deep until the point nobody will save me.

I just want to be happy.

Do I really enjoy those foods?

I hate her.

I hate him.

I love him.

I need him so badly.

I need to feel loved again by him.

Now my friend isn't here to say that I will be okay, am I going to be okay? Answer me.

Answer me.

Why did you leave me behind

Was I that annoying to you? Shit. You have to be the worst person I have ever met, she fucking ruined my life, I just want to see her again and tell her how much she ruined my life. But, no. She can't even afford her own fucking problems. How could she even handle me?

I think I'm egoist, I am.

I hope one of this days I end up with all of this, if god exists, then he really hates me. If I die, I just want to have a fucking happy dream where I never wake up from. Does he even listen to me? Is he even real? Am I alive?

Mom. Why did you want to have me? I don't even have something special on me, I don't know how to do anything rightly without fucking it up, I just, want to be like others. Mama, tell me. Why can't I be like others? Why did you have to give birth to a piece of shit like me?

Dad hates me, and I hate him.

He's horrible

I want him to stay away from me, i feel like i'm losing my mind when he's close to me, he doesn't understand the ways I feel. I tried explaining again and again but he just says that i'm confused.

What do you mean with confused? I am not confused. The way that I feel it's all because of his fault, if he didn't show me his friend that day then I wouldn't miss him. I wouldn't feel dirty every time I shower.

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brittlebonesguy · 2 years ago

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4,5,6,7

stephanie.....she doesn’t have to sleep out in the rain every night jesus. once again clay i can’t stand you dumbass opinions kindly shut your mouth for the rest of the season please. all three of these men of this tribe: ted, clay, and brian are at the bottom of my list i hate them. i truly don’t like ted or clay. you wanna know why it wasn’t a team effort shii ann? because it was dead fucking quiet even coming up with a name for the dummy you’re meant to decorate. you also literally said you don’t care. so.....all of you be annoying i guess. i REALLY hate the way the men talk about the women on the orange tribe. and i don’t like that they call jan granny. especially since they do nothing around the camp. the women are getting the water, making the food and the men? sitting the water. and there it is. the outright sexism. fuck you guys. helen is eating with these comments against the men oof. thats fully correct ghandia unfortunately women never stick together in this game and all three of you will be picked off. wanna try that sentence again clay or are you just gonna keep stumbling through it. stop not jeff chastising clay’s choice of a nickname. i am so disappointed in you helen. truly. ghandia you have every right not to let it go.

who wouldn’t for you clay, you fucking pig. ........a lot of people eat the organs of animals robb. and also why are you turning your nose up to perfectly good food just because it’s an organ. you guys have been starving for days but you draw the line there? he better pray one of the challenge isn’t gross food based. brian really has a high opinion of himself. great little piss baby got hurt and somehow its shii ann’s fault. can’t wait to hear him complain about this for the next three day. these people are so useless. how the fuck do you lose whole fucking boat. the island isn’t mysterious you’re just stupid. ted is absolutely responsible for the boat but i’ll just blame it on you anyway clay. its more fun that way. ot instead of yelling you could just get out of the water and read the fucking note yourself. clay: its betting on food jan: its a gambling thing clay: no shit sherlock. okay,,,,,so you’re allowed to point out the obvious but no one else? your sexism is showing give me 10 minutes with him alone in a room and he’s coming back with at least three broken bones. helen what makes you think you won’t be out next right after jan. i hate when people say “oh i’d hate to do it but that’s the decision that the tribes made i have to vote for them” no you DONT you literally don’t have to. i can feel how much jeff doesn’t like robb.

oh so we’re all just gonna drop that word whenever huh? shii ann now on a shit list. if you don’t want anyone to know about your secret alliance then don’t fall into silence the moment someone walks up while you’re talking. i don’t understand the constant judgement of jan. she seems really sweet and she just wants to have a fucking funeral for a bat okay? piss off. she deserves a better season honestly. firstly robb needs to stop saying baby to shii ann and secondly he truly does not know how to spell her name considering he keeps putting s.h.bye BITCH! thank god robb didn’t make to to merge. i don’t know what i would have done if he did. i get the vibe that jeff is so done with this season.

why did it look like brian was going in for a kiss with penny. really hate brian’s cockiness. rest of her life? its just survivor ken. penny does give mean girl vibes. yeah shii ann leaving tracks for this tribe

#survivor #survivor5

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nihiltism · 7 months ago

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ok im gonna give a Shot at it. please hold. ill put these in lil groups. this will also be long so its under a readmore. im just gonna post morty and mack rn because i dont know how much time i have tonight + my desktop tumblr doesnt autosave and i get anxious about writing long posts. anyway ill be rbing with more ocs later too i have like. 19 now

[Section The Immortal Guys (do you have any idea how little that narrows it down) the guys who i write over generations and dont really have an ending to their stories because theyre here to be immortal]:

Morty:

"vee why dont you have normal wish fulfillment ocs". eternally undead (vaguely ungulate) skeleton guy who is basically only here as an observer to the world around them since they have all the time in the world to do so now. their backstory is ultimately irrelevant, they tend to deflect questions about themself but its kinda more because they dont like to draw attention to themself as theyve kinda distanced themself from being A Person over the years. this doesnt really mean theyre distant though, theyre here to watch the sun rise and the stars shift and find new and interesting people at their door and listen to their stories and have them over for dinner. they keep adopting mortals and i wish theyd adopt me. they cant feel warmth or sleep or eat the food they make or whatever but as long as theyre able to provide that comfort for others its a fair trade for being given time to appreciate the world and everything in it. also their name is technically a lie since its supposed to be just short for That Immortal Who Doesnt Pay Property Tax but it always bugs me to call them an immortal without an asterisk next to it but also its got emotional significance now as much as id like to change it. also i hardblocked somebody one time for (somehow genuinely, despite me prefacing with "my oc") thinking i was talking about rick and morty. so warning for that.

Mack:

sliiightly less developed as he was made more as a character to go With Morty more than anything (also im tempted to change his name since its kinda lame. its short for an angel name i found on wikipedia but who caaaares). vaguely ungulate (goatlike probably) angel with killable-type immortality and infinite respawns but in different places and times every time. kiiinda fallen but like, my version of heaven doesnt really care, they let him dick around on earth because he's at least out of their hair there. unfortunately this gives him infinite hedonism, hubris and no consequences as he has absolutely no reason to have any self preservation since he's ultimately here for funsies and has nothing to lose. he's probably a war criminal. anyway this Does end up changing as he meets morty and Keeps Meeting Morty and realizes every time he respawns somewhere he ends up Going Back to morty and aw fuck he has something to lose (even if its just temporary it takes a Good While to get back and more importantly leaves morty alone) and shit. goddammit. this is kind of enough of a kick in the head enough to get him to have any sort of self preservation and also some self Value and value in life as a side effect. good all around. nowadays hes a lot less uh. Wild. he takes notes on different places and times' fashion trends so he can mix them together in absolutely Criminal looking outfits for fun.

he and morty have a Weirdromantic relationship going on where they definitely love each other, but the type of love is different for the both of them (mack is Definitely romantic after a while, morty's is likely platonic but they're also just affectionate by default and actually do enjoy being loved so it works out plenty since they have. So much time to communicate about it.) but more importantly they're like. each other's only static points in time. they always find each other and they always have new stories to tell each other when they return and theyll have all the time in the world to tell it. thumbsup. i like them. they rarely have stories to their own though and are more just. always supporting characters in other peoples. and thats fine to both of em

I should like. make a group intro to my ocs list or something so you guys can at least vaguely know what the fuck I'm talking about at any time. these guys don't have visual refs I understand it's probably hard to visualize who the hell I'm talking about. bonus that I've only really made a specialized Lore Post for like one character and it's kind of outdated. there's not going to be a test on this

#blorbos from my brain #mackposting #mortyposting #veespeaks

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c-is-for-circinate · 4 years ago

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Wait, isn't "anti" stuff more like "anti-pedophilia" and stuff? Like, you have a point about anti-porn attitudes, but from what I've heard just "anti" on its own means against stuff like kid porn and incest porn and legitimately f*cked up sh*t like that.

Okay! So this, I think, is actually a great example of what I was talking about, and a really useful thing to understand. (CW rape, child abuse, etc)

Smarter people than me have written much better essays about why policing thoughtcrimes is a bad road to go down, and I will probably reblog some of them next time they cross my dash for more context. What I want to talk about is the trigger mechanism, the ‘oh, this looks like danger!!!’ immune response in how we look at different kinds of porn, and how that applies to anti culture.

Here’s the thing: I am anti-pedophilia. I think that, for most people, that’s a stance that largely goes without saying! Adults who prey on children are bad. I’m also against incest; relatives who prey on their family members are bad. Above all I oppose rape. Sexual predation of any kind is bad. In fact, I’d say that’s the most important item on the list. There is plenty of room to argue about where the lines are between ‘adult’ and ‘child’ and how teenagers fit in the middle, and there’s plenty of room to get historical about the lines between ethically terrible incest, distasteful-but-bearable “aristocratic inbreeding” between distant cousins, and the kind of consanguinity that tends to develop in a small town where everyone’s vaguely related to everyone else by now anyway. The core of the issue is consent, and it has always been consent. Pedophilia and incest are horrific because they are rape scenarios where the abuser has far more power and their victim far fewer resources to cope, both practically and emotionally; because harm to children is, to us as a culture, worse than harm to adults, for a lot of very valid reasons; and because they constitute betrayal of trust the victim should have been able to put in their abuser as well as rape--but they are all rape scenarios, and that’s why they’re awful.

These things are bad. It is good for us to have a social immune response system that recognizes these things when they’re happening and insists we step in. That is a good thing to develop! It helps us, as a society. It can help the people being victimized. It’s the same reason educators and childcare workers in the US are all mandated reporters, why we do background checks on people working near kids. These things happen, and they’re terrible, and it’s good that we try to be aware and prepared for them. (Though obviously studies show we’re a lot less good at protecting the vulnerable than we’d like to pretend we are.)

The question is: why does that same social immune response trigger, and trigger so angrily, in response to fiction?

Anti culture is fundamentally an expression of that social immune response. Specifically, it’s that social immune response when it is set off by a situation that, while it has some similarities to the very bad real-life crime of sexual predation including pedophilia and incest, is in and of itself harmless.

If you’re instinct is to flare up in anger or dismissiveness because I’m calling these things harmless, I want to ask you to just take a deep breath and bear with me for a bit longer. What you’re feeling right now is an allergic reaction.

Humans tell and read and listen to stories about “legitimately fucked up shit” all the time. It’s part of the human condition. It’s part of how we process those things happening, not just to use, but to other people in the world around us. It’s part of how we process completely unrelated fucked-up shit, playing with fears and furies and insecurities that we all have, through so may layers of fiction that we don’t even recognize them any more, playing with power dynamics in metaphor and making characters suffer for fun. Aside from the fact that literally all stories do this to some extent or another; aside from the fact that drawing lines between ‘ok that’s good storytelling’ and ‘that’s too fucked-up to write about’ is arbitrary, subjective, and dangerous in its own right; aside from all of that, these stories are stories. All of them.

Even the ones about rape, about incest, about pedophilia. They’re words on a page. No real children were harmed, touched, or even glanced at in the making of this work of fiction. This story, pornographic though it may be, is part of a conversation between consenting adults. (And if a teenager lies about their age to consent, that is a different problem altogether.)

Stories in and of themselves, no matter what they’re about, are no more dangerous than a crate full of oranges. Which is to say: utterly harmless, unless all you have to eat is oranges, all day every day, and you find yourself dying slowly of nutrient deficiency--which is why representation matters. Or unless someone wields one deliberately, violently, as a tool to cause harm, and someone gets acid in their eye--which is the fault of the person holding the orange. And unless you happen to be allergic to citrus.

The key here is this twofold understanding: First, the thing that hurts you can also have value to others. Real, legitimate value. Whether you’ve undergone trauma and certain story elements are straight-up PTSD triggers or you just don’t like orange juice, that story, those tropes, that crate of oranges may be somewhere between icky and fundamentally abhorrent--but we understand that that is still your reaction. Even if you don’t understand how anybody could ever enjoy it; even if every single person you surround yourself with is as sensitive and disgusted and itchy about this thing that makes your eyes hurt and your throat stop working as you; that doesn’t make it true for everyone. That doesn’t make oranges poisonous. No real children were involved in the writing of this story. It is words on a page.

But, secondly: the thing that has value to others can also hurt you. Just because a story isn’t inherently poison doesn’t mean it can’t cause you, personally, pain. That’s what a PTSD trigger is: an allergic reaction, psychological anaphylaxis, a brain that’s trying so hard to protect its own from a threat that isn’t actually present (but was once, and the brain is trained to respond) that it causes far more harm and misery than the trigger itself possibly could. And no, it’s not just people with PTSD who sometimes get hurt by stories. There are many, many ways a story can poke the part of your brain that says, this is Bad, I don’t like this, I don’t want to be here. The story is still, always, every time, pixels on a screen and ink on paper. The story causes no physical harm. But it can poke your brain into misery, it can stir up your emotions, it can make you want to cringe and run away. It can make you want to scream and fight and go after the author who brought this thing into existence. It can make you hurt.

This is an allergic reaction. This is your brain and body, your reflexes and instincts, trying to protect you from something that isn’t really happening. And just like a literal allergic reaction, it can do actual harm to you if it gets set off. This is real. The fact that stories can upset you to the point of pain and mental/emotional injury is real, even though it’s coming from your own brain and not the story itself. There are stories you shouldn’t read. There are stories I shouldn’t read, regret reading, will never read, because they hurt me. That doesn’t mean they’re the same stories that would hurt you. That doesn’t mean they don’t have value.

And, finally:

If getting upset about stories is fundamentally an individual person’s allergic reaction, their brain freaking out and firing off painful survival instincts in the face of a thing that isn’t, in and of itself, a threat? Then the anti movement is a cultural allergic reaction.

Fandom as a whole has a pretty active immune system, which doesn’t mean we have a good immune system. We try very hard to be aware of all the viruses and -isms and abuse and manipulation and cruelty, both systematic and individual, that exists around and within our community. We’re primed and ready to shout about things at all times. The anti movement is that system, that culture, screaming and shouting and fighting at a harmless thing on a grand scale. It wants to stop that thing, that scary awful thing that trips all of its well-primed danger sensors, at all costs. It’ll swell up and block off our airways (our archives) if it has to. It’ll turn on the body it came from. It’s scared and protective and trying to fight, and it’s ready to fight and destroy itself.

Luckily, fans and fanfic and fandom and fan culture are a lot bigger and older than they often get credit for, and it’s not like these cultural allergies are anything new. We could talk about shippers and slashers in the X-Files fandom in the 90s. We could talk about the birth of fandom in the days of Star Trek. We could talk about censorship and book burning going back centuries. We survived that and we’ll survive this, too.

But god, does the anti movement my throat and eyes itch. Man is it irritating, and sometimes a little suffocating, to realize how many stories just aren’t getting told out of fear of what the antis will say. And that’s the real danger, I think. What are we losing that would have so much value to someone? What are we missing out?

#fandom #anti culture #anti-anti #I guess?#asked and answered #you are not WRONG or BAD or BROKEN if a story hurt you #but neither is the story #Anonymous #anti discourse day

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xocasper · 2 years ago

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rough, jealous sex with fem reader and frank pls 🫶 ur writing is so godly i love it sm, keep up the good work!!

Tell Me You're Mine

Pairing: Frank Iero x Reader Summary: Frank drags you to a party and you run into your ex-boyfriend, who makes it his mission to piss Frank off. After a tense ride home, he decides to remind you whose girlfriend you are. Warnings: NSFW content Tags: oral sex, jealousy, angst, rough sex Word Count: 2317 A/N: The first and only time I ordered DoorDash, my driver, Stephen, forgot my Baja Blast. Stephen has now been turned into a shitty ex-boyfriend. Thank you for the request!

The sound of shitty pop music filled your ears, the stereo blasting bass so loud the lyrics became indecipherable. You clung to Frank as you made your way through a sea of partygoers; you didn’t want to be here anyway, so losing him in the crowd would make things considerably worse. He had told you it would be quick, only stopping in to see a few friends, and then you’d be off. He had practically begged you to come with him, not wanting a bunch of drunken strangers to hit on him when he was very happily taken by you.

Frank was waist-deep in a conversation, somehow able to hear Gerard over the cacophony of loud chatter and blaring speakers. You were bored and decided to go get a drink–you would still be in his line of sight, so what was the worst that could happen?

“I’m grabbing a drink, alright?” you practically shouted, giving him a quick kiss as he nodded, watching you walk off. You shoved through a wave of sweaty strangers, not recognizing any of them. Honestly, you weren’t even sure whose party you were at–some friend of Mikey’s. The kitchen was messy, with several solo cups getting crushed under your shoes as you made your way through. You weren’t really sure what you wanted other than to busy yourself.

“I can make you a drink if you want,” someone said behind you, drawing your attention away from the liquor labels. You knew that voice anywhere, so you took a deep breath to prevent an unnecessary outrage. “Stephen.”

There he was, the douchiest guy you’d ever dated, wearing a shit-eating grin as usual. “Look what the cat dragged in,” he said, clicking his tongue and eyeing you up. Maybe you should’ve stayed with Frank.

“C’mon, let me make you a drink,” he offered, pushing you aside. “No, I’m all set.” You reached for a soda instead, not wanting a drink from anyone, much less your ex. “What, you don’t trust me?” he laughed, and you shrunk a bit against the counter. “No, I don’t.”

You looked over to where Frank was, and luckily he glanced over at the same time. He said something to Gerard before heading your way, looking slightly pissed. Stephen was already talking your ear off and inching uncomfortably close, paying no mind to the obvious look of disgust on your face.

“Hey, are you ready to go?” Frank asked, wrapping an arm around your waist, ignoring your ex. “Hey Frank!” he smiled as if he hadn’t been hitting on you moments ago. “Stephen,” Frank responded, tensing up already.

“You’re hanging with them now, huh?” he said, pointing between the two of you, eyes narrowed in suspicion. Frank’s grip on you tightened as he answered, “They’re my girlfriend, and we’re leaving now.”

You leaned back against his chest and Stephen scoffed. “What a downgrade; I mean you’re not really going back home with him right?” God, he was such an asshole. “The fuck is that supposed to mean?” Frank asked, clearly fed up with the other man’s bullshit.

“Woah, don’t get your panties in a twist. I’m just saying we used to have some fun times, isn’t that right?” He glanced at you for support, a cocky smirk on his face. You couldn’t help but laugh at his absurdity; if having fun meant never coming, then sex with Stephen was fucking Disney World. Unfortunately, Frank misinterpreted the reason for your laughter and found himself getting angrier because your ex was the cause of it.

Stephen really didn’t know how to shut up, persisting with his taunting. “You’re free to go, man, I’ll drop your girl off tomorrow morning, how’s that sound?”

“Sounds like a fucking death wish to me.” You seriously had to get Frank out of there before he clocked the guy, shoving Stephen away and pulling him out of the kitchen. Thankfully, he had no issue leaving, squeezing your hand and striding out the door. He didn’t bother saying goodbye to Gerard or speaking to anyone else, too focused on getting home.

The ride back was tense; his knuckles were practically white from how hard he was gripping the wheel. “Look, he was probably drunk,” you tried to reason, hoping it would calm him a bit. “No, he’s just a fucking asshole. Drunk or not, you’re my girlfriend.” Stephen overstepped and you knew it. “Besides, you didn’t say anything to him. Not once did you tell him to stop.”

Frank rarely got this jealous. Typically when guys would flirt with you, he’d walk over, sling an arm around you, and they’d be gone, muttering half-hearted apologies for hitting on you. He could tolerate that, but the second things progressed, he’d raise hell. You were getting a bit impatient as well; did he not trust you?

“What the hell was I supposed to do? Castrate him on the kitchen counter?” you huffed, tossing your hands in the air. “You don’t see me getting pissed when girls are practically hanging off of you.” That last part wasn’t entirely true; you got just as bitter as him when this would happen.

“Yeah, because that’s worse than saying they’re gonna take me home with them,” he spat, rolling his eyes as he slammed the car door. “At this rate, maybe I should’ve stuck around,” you said, immediately regretting it. You didn’t mean it and Frank knew that, but at the moment he was seeing red.

“What did you say?” Oh fuck. He stormed into your apartment building, and for a minute you considered getting back in the car and sleeping in the backseat. He continued to stare you down as you fished for the keys; jealousy was a good look on him. You were already lacking solid judgment and his behavior was only making things more difficult, so you bit the bullet and repeated yourself.

“I said maybe I should’ve stuck around.” He took hold of your hip as you swung the door open, walking you just past the doorway before kicking it shut. You were pressed against it before your mind could catch up, still in a lust-filled haze. He peered at you through slit eyes, hands on your hips to hold you to the door.

“You wouldn’t have,” he said, words laced with venom as you glared at him. “You could never do better than me.” Frank knew he was bluffing; if he had this level of confidence he wouldn’t have gotten so pissed seeing you with another guy.

“Prove it.”

Without a second thought, he pressed his mouth to yours, and you were nearly thrown off balance by the force of it. He held your chin, keeping your lips on his as he pulled you closer. You didn’t want to back down that easy, arms hooking around his neck and hands threading into his hair, stress and aggression evolving into sexual desire.

He broke away to breathe, pupils blown wide as he scanned your face. Impatient, you tugged him back, his eyes falling shut when you pulled on his hair. His tongue prodded at the seam of your lips, licking into your mouth the first chance he got. With his hands on your hip and head, the two of you stumbled to the bedroom, unbothered by the rough journey there.

Your hands slid under his shirt as you backed him up against the bed, Frank still claiming every inch of your mouth as if it were new territory. He hummed against your lips when you reached his waistband, petting him through the tight denim of his jeans.

“Get on your knees,” he commanded, his wet lips nipping the crook of your neck before tugging your top off. He bathed in satisfaction as you sunk to the floor and eagerly popped the button on his pants, already lust drunk on a few kisses. He held the back of your head, fingers threaded in your hair as you tugged off his jeans. You traced his bare hips with the tip of your nose, biting gently on his pale skin before he drew you back to his dick, confined and dripping in his boxers.

He glowered at you, undoubtedly frustrated that you were taking so long. “Take any longer and I won’t touch you,” he warned, barely noticing your small pout in the dark room. You complied anyway, getting rid of his boxers and brushing your lips against his tip.

His hips jerked at the contact, the bitter taste of precum filling your mouth as you hollowed your cheeks around him, sucking at the head of his cock while he tried to push deeper. “Only I get to see you like this,” he told you, sentence cutting off with a deep moan. “So fucking dirty, aren’t you? Always so desperate to suck my dick.” He murmured more obscenities under his breath while you worked him with your tongue–long, flat strokes that dragged across the length of his cock before he slipped past your lips once again.

He choked on his words, sticking to curses and moans as you touched him, delicate hands jerking him off as your tongue flicked against him. Frank didn’t like that you were in control, so while grateful for the killer blowjob he was receiving, he took matters into his own hands. He sunk deeper into your mouth, cradling the back of your head as your hands drifted from his dick to his thighs, nails digging in gently as he used your throat.

You were enjoying it as much as him–if not more–and he could tell, grinning as he threw his head back. “Christ, you liked being used like this, yeah? You like when I fuck your throat?” You moaned around him, a gruff ‘fuck’ rolling off his tongue. He glanced down at you, relying on a sliver of moonlight to study your expression–your eyes were half-lidded, mouth wide, practically begging to be filled, lips and chin wet with saliva and precum, and easily heaven on earth.

“Stop, shit,” he breathed, yanking you off with a bit more force than necessary. It took all his self-control not to come down your throat, but reminding you who you belong to was his top priority at the moment. A short cry of protest fell from your lips, which only stroked his ego more. He pulled you up and caught your lips in a rough kiss, needy and aggressive as his hands got busy unbuttoning your jeans.

“Bet you’re already soaked, aren’t you? I haven’t even touched you yet and you’re already so wet, so desperate to be fucked.” You shivered as he spoke, his thumb brushing across your panties while he sucked a bruise below your ear. He discarded the rest of your clothes, kicking his jeans away and pulling off his shirt before falling back on the bed, tugging you down with him.

His skin was void of any abrasions, an invitation for the inevitable hickeys and scratch marks that he always wore proudly the morning after, proof to himself that no one could fuck you like he could. You were his, and he was yours, and that’s how it would stay if he had any say in it.

Frank propped himself up above you, watching each of your reactions as the pads of his fingers trailed from your tongue down to your cunt, gathering slick before pushing in. “No one ever touched you this well, did they?” he asked, thumb grazing your clit. “Can’t believe you let that bastard see you like this. I want you to think about this every time he crosses your mind; think about how well I fuck you.”

And with that, his fingers slipped out and his dick slipped in, giving you little time to think; a strangled moan was all you could muster. His thrusts only grew deeper, pouring all the anger and jealousy he felt that night into each snap of his hips. “Tell me you’re mine,” he said, intentionally slamming his hips against yours again as your lips parted, grinning at the reflexive moan you let out. “I’m all yours, Frank,” you promised, hardly able to get the words out with his rough pace.

That was all he really needed, rubbing tight circles on your clit, your incoherent cries a telling sign that you were close. He kissed you again, quick and messy as you tipped over the edge. “Make a mess for me,” he breathed against your skin, coming in time with you as you marked up his back, moaning while he filled you.

He laid there for a moment, head resting on your chest as his dick pulsed inside of you. Frank was calm, the sound of heavy breathing filling the room as you held him against you. His eyes were glued to you as he pulled out, the sight of his cum dripping out of you fixing almost every insecurity he had that night. He groaned softly again, and you perked up, staring down at him. Your eyes drifted to the point of interest, slightly embarrassed that he was so mesmerized by it.

“How do you expect me to not get jealous when you look like this?” he asked, laughing softly as he motioned for the tissues on your bedside table. “Covered in cum? Damn, that’s a tough one.” He just looked up at you, eyes softer than they were before, the party long forgotten, holding no significance to him anymore. All that mattered was the two of you, not Stephen, nor any other prick that tried to woo you into their bed.

“My cum,” he corrected proudly, pulling you into his chest. “Because you’re my girlfriend.”

“Yeah, I think you made that pretty clear,” you teased him, receiving a pout that you happily kissed away. He smiled against you for what felt like the first time that night, knowing for certain that you were here to stay.

taglist: @lubbockshusband @yachiiko @newgirlinhell @tomoora @blackberryblossom @whothefuckisfranklero

#frank iero x reader #frank iero #frank iero smut #mcr x reader #mcr smut #my chemical romance

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unfoundhoney · 4 years ago

Text

a sister’s sacrifice ; part three ↠

↠ platonic!c!sleepy bois inc x fem!reader , platonic!c!tubbo x fem!reader ; angst just angst

↠ masterlist

↠ part one ; part two ; part three ;

↠ @leafyturtle @basheverythingyesterday @terribletoothbat @bestioe @junoblad3 @machiebach @ok-honey

when considering the deaths of the people on the dream smp server, yours is the hardest

schlatt was detested by all when he’d died

few people still truly cared for wilbur when he met his end; the man he once was was long gone by then

but you

you never changed

you were a constant for so many & immovably kind to the rest

selfless, giving, caring

even when you just wanted an escape, you came to the aid of your brothers

you gave the ultimate sacrifice & paid the price

everyone mourns you

when the battle is won & dream locked away indefinitely

once everyone has come down from the high of freeing themselves from dream’s reign, the server goes into a state of grieving

there’s no denying your death

they all saw the message in chat

you’re dead

those that were close to you took it hard

niki was narrowly stopped from burning down the bakery you encouraged her to open and helped build

eret put her emotions into work on a memorial in their museum for you

even under the egg’s control, bad & ant put the eggpire aside for you

of course, those who took it the hardest is your family

when ghostbur learns of your death, he’s distraught

he doesn’t quite know how to handle the information

he protects your home & only allows people to enter when he supervises them

tommy took a while to move past his anger & deal with the fact that you’re gone

tubbo ran off to start snowchester

he chose to distract himself rather than truly process his emotions, even if you’d always done your best to break that habit of his

now that you’re not around, who’s to stop him from letting himself be numb to it all?

techno is another one of your family members who chose to barely acknowledge your passing

he became somehow more monotonous & emotionless

and phil

...

there’s no word for a parent who loses a child

wilbur was gone & of course it messed phil up to be the one to take will’s last life but by that point his son was gone

but you

you’d always been such a genuinely good person

phil did so little for you as a father

he was so absent

he never apologized to you for that

he never told you how much he loves & appreciates you & everything you’ve done to keep their family together when he couldn’t be bothered

it’s a few hours after he received the news from ranboo that all the guilt for everything he had ever put you through hit him

he broke down in his kitchen while trying to distract himself by organizing his cupboards

but all he could think about was you

you & your never ending kindness & compassion

he was never a father to you

yet you never hated him

why couldn’t you have hated him?

it would hurt less to lose you if you hated him; it’s what he deserves

he’s unworthy of your love

but he can only dwell so long on you

you are given a proper funeral

you’re buried by the seashore, somewhere between l’manberg and tommy’s abandoned vacation homes in an open field

the sever members plant so many flowers, your gravesite becomes a flower field

but soon, life goes on

it will only hurt for longer to draw out the mourning period

it would do no good for anyone

besides, you wouldn’t want the server to be sad for your sake

techno supposes it’s for the best that you died

he does his best to move on, filling his days with resource gathering and upgrading his tools, weapons, and armor while trying to think through his emotions logically

as much as he liked you

as much as everyone liked you, you were too good

you were the best of them

fate is not kind to heroes

“hello!”

technoblade is not an easy man to sneak up on, let alone scare

the greeting itself isn’t want startles him

it’s turning toward the voice to lock eyes with you

you who is dead

techno is not proud of the sound he made when he saw you but you of all people wouldn’t make fun of him for it

he just stares at you, slowly realizing what’s happened

you look desaturated, the color drained from your clothes

your skin is grey & almost translucent

you’re a ghost

“y/n.”

“hello! who are you?”

techno tells no on one of your ghost form

he even keeps the rest of the server a secret from you

he leads you to your old home & leaves you there w/ ghostbur

he hopes your and ghostbur’s combined amnesia will keep you out of harm’s way i.e. the rest of the server

he visits you occasionally but mostly leaves you be

you live happily with ghostbur for a while

he is very glad to have you back

his memory is nearly as bad as yours, so the story of the server & what happened to you when you were alive is only given to you in bits & pieces that are near impossible to fit together

it was only a matter of time before someone came to visit your house

“...y/n?”

it’s tubbo who finds you first

or he finds your ghost

(tubbo) y/n! oh my god! you’re a ghost! you’ve come back!

(you) hello! *whispers* ghostbur, who is this?

(ghostbur, whispering obviously) that’s tubbo, one of your other brothers i’ve told you about

(you, whispering) oh, right

(tubbo) how long have you- oh, this is incredible! i have to tell tommy! he’s been so sad since you died; he’ll be so glad to see you!

tubbo messages tommy, who is skeptical but reluctantly comes to your house anyway

but there you are

your ghost anyway

which is good enough, honestly

(tommy) y/n!

you catch him in a hug easily, even if you’ve never met him before

(tommy) you’re alive!

(you) no i’m not. i’m a ghost!

techno happens to check in on you when tubbo & tommy are there

bad news for technoblade: you’d told them about techno leading you here

meaning: tommy knows techno hid you from him & everyone else

needless to say, he is not too happy about that

(tommy) you hid her! you kept her away from us!

(techno) tommy, you have to understand-

(tommy) i don’t have to understand shit! you hid her from us! you lied to us!

(techno) tommy-

(tommy) you kept her from everyone! you’re selfish and you’re a liar and you’re horrible and-

(techno) i did it to protect her! she’s been hurt enough protecting others; it’s our turn to protect her. the only way we can do that is by leaving her alone

(tommy) she’s my sister

(techno) your sister is dead, tommy. for once in her life, let her have peace

tommy gives up on techno & goes to you instead

(tommy) y/n! y/n, we can bring you back. we can revive you. well, dream can revive you but he’s in prison so he has to do what we say so we can bring you back. we can be a family again. don’t you want to come back?

(you) ...no

that

...

that isn’t what tommy was expecting

(tommy) what?

(you) if alive y/n comes back, i won’t exist anymore. and i’ve only just got here. i don’t want to go yet

(tommy) don’t you understand how much y/n means to me? y/n has to come back. she has to. she’s so important. not just to me but to, um... tubbo as well! right, tubbo? don’t you want y/n back?

tommy looks to tubbo for some backup but the shorter boy looks away

(tubbo) i think we need to let y/n go, tommy

the betrayal that fills tommy’s chest is soon gone as he locks eyes with techno

tommy knows techno is right

you’re too much of a good person

you’re too willing to sacrifice yourself for others

even as a ghost your kindness is blinding

this server will only drain you of everything you have yet again

he will drain you of everything you are

he’s just tried to convince you to cease to exist to bring back the former version of yourself

(you) i’m sorry. it’s just- i’ve heard there are these really pretty blue flowers in the swamp biome that i haven’t got to see yet-

(tommy) no. it’s fine. i’m sorry. i-... i should go.

tommy leaves your house & tubbo goes with him

even if tubbo caught on a bit sooner to techno’s reasoning, he’s still concerned at his friend’s sudden change in character

(tubbo) tommy... are you alright?

(tommy) ...i really want her back

(tubbo) i do, too. but she’s gone

(tommy) she doesn’t have to be

tubbo can’t argue with that

(tommy) but... maybe it’s for the best

(tubbo) really?

(tommy) yeah.

(tubbo) but just earlier you were telling me about your plan to get the revive book from dream

(tommy) techno’s right, tubbo. all everyone- myself included- has ever done to y/n is take. and she’s given everything

(tubbo) because she loved us

(tommy) as much as she loved us and as much as we loved her... the only thing we’ve ever brought her is pain. i think now... now is her time to rest.

(tubbo) ...that’s very pog champ of you, big man

tommy had planned to visit dream as many times as it took to get the revive book location off of him so he could revive you, but now he’s accepted that he needs to move on

he needs to move on from you & dream & everything dream has put him through

he decides to pay one last visit to dream, put him behind him, & never look back

he’s ready to start a new chapter in his life, one without dream

and the first one without you

but then he’s locked in the prison

two weeks pass

nearing three weeks & tommy still isn’t allowed out of dream’s cell

he’s irritated and annoyed and most of all he’s scared

but he can’t let dream know he’s still afraid of him, that’s why he pisses dream off enough to the point of being beat to death

tommy begs him to stop

but then he’s gone

everything is dark

black

empty

nothing

is this what death is?

conscious in absolute nothingness?

tommy’s feet feel the ground beneath him

his senses come back to him

it’s still dark but he feels as though he can see again

where is he?

heaven?

no, probably hell

or maybe neither?

both...?

what the hell happened?

the first thing to break the silence is the voice tommy has known since he was an infant

the voice of the person who raised him

the voice of the person who has always been there for him

the voice of the person who he has finally let go of

your voice

saying one simple word

“tommy?”

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queerwritersingerdramaqueen · 2 months ago

Text

LETS KEEP IT GOING BABY

Now the tone shifts into the reason why I think Albert was good casting for this. Albert is representing the whole cast in this moment and trying to convince William to not do the thing he shouldn't do. I think this also, in some way, gives Albert a chance to step in where he didn't in the real world of the story or in canon. It gives him a chance to protect and "save" that child he "corrupted." Of course, it won't be him who "saves" Odysseus but he will be helping Liam in feeling ok again, just like when sherlock jumped to save him and then they made their promise when everything was getting better. And of course, two of William's, now technically deceased, friends and his beloved family member are also back to fuck him up and he's just go to scream a little bit. Please imagine he was going to step off the edge when Calypso said the open arms line but then Polities, Eurylochus and Anticlea pop up and it's just way to much for him, so he starts sing screaming, eventually covering his eyes and falling to his knees, until he reaches out and calls out to Athena, looking right past her. Sherlock is in near tears. I think I should also make the point that, though this is the lowest point for Odysseus in the musical, it's just another obstacle or turning point for William. This is one of those occassions where the process of musical catharsis is there but it's probably more William drawing on old sources of sadness to really bring it out of him, or maybe he's just really feeling it after hearing Sherlock and Bill's pieces. He’s letting it out IN THE MUSICAL so he doesn’t lose it in THE REAL WORLD. ALSO, CAN I JUST ADD THAT HE COULD HAVE CALLED OUT FOR ANYBODY, HE COULD HAVE CRIED OUT FOR PENELOPE OR TELEMACHUS OR EVEN EURYLOCHUS BUT NO, HE STILL TRUSTED ATHENA AND BELEIVED IN THEIR FRIENDSHIP ENOUGH THAT HE CALLED OUT TO HER FOR HELP. JUST, THE ACTUAL HURT THAT CAUSES ME GODDAMIT.

God Games - ALRIGHT MOTHER FUCKERS, ITS HERE AND ITS TIME. I once said that Ruthlessness was my Magnum Opus. NO MORE, now it's GOD GAMES TIME TO SHINE. AND YA'LL ARE NOT GONNA FUCKING BELEIVE THIS, AKA-NO-KEN GUESSED ALL MY CASTINGS CORRECTLY. GOOD ON YOU, YOU DESERVE A COOKIE. Now, I'm gonna do this in stages so hold on to your hats. Sherlock calling on Jack for this game... really doesn't have a deeper meaning. They're just acting this out as Jack would have no real reason to be mad a William or Sherlock. He's just having fun being the one with the most terrifying fucking voice (and like, Holy shit Zeus, I hate you so fucking much but GODDAMN YOU HAVE SOME PIPES). What he DOES do however, is set up the occasion for Sherlock to confront something he's been running from just a little bit. Why did he get back with his Ex? It's the question we all might have and I've been trying to answer. Some other people also have this question. Here is where my whole timeline kinda unravels a bit, because THE THING I KNEW WAS GONNA HAPPEN FUCKING HAPPENED. So, I have to undo some stuff from before. So, in the underworld saga where I said they were "officially" back together, I mean now, "they're trying out dating again and no one actually KNOWS that."

Regardless, the introduction of the gods would go something like this: all five of them step onto the stage in dark robes and when Zeus calls their names, they rip them off to show all the different colours and designs of the gods. Apollo/Billy - So Billy is a fairly neutral party on this knowing both of them. He also fairly well knows that getting in between them is a fool's errand so he gives up pretty easy and has a fairly flimsy argument. Nonetheless, Sherlock speaks to him like an older brother would when their little brother says something really dumb. Their confrontation is fairly tame compared to the others. (ALSO, HE'S HERDER'S FUCKING VA THAT IS SO FUCKING FUNNY AND GOOD) Hephaestus/Lestrade - Jorge's whole family being musicians is just magnificent honestly. Anyway, Lestrade talks to Sherlock like a kid mostly. "Trust is not given, it's forged" sounds like something your dad would tell you once you start making friends in highschool. So using that line of logic, he kind of pleads the case a bit more. He's not borderline condescending like he is with Billy but there is a degree of demand in there ("Daddy, I love him." type nonsense but without the cringe). Lestrade also knows there is no fighting Sherlock when he's determined so he just lets it happen like, "you fuck around, you'll find out." He's such a father in this its kind of funny. Aphrodite/Mary AND Ares/John - I don't know if this was obvious or not but it's kind of cool that Aphrodite and Ares level up sounds follow each other because their a package deal. But this is where it actually comes into some "what the fuck are you doing?" territory. Mary is mostly just upset about how William couldn't see that hurting himself meant hurting everyone he knows. Her anger isn't just for Sherlock in this sense. Bringing up Anticlea is her "reassuring" Sherlock that he's not the only one that was affected by this whole debacle and even his closest brother was hurt, so let him "reap what he sows," because it doesn't have to be his problem. There “dance/movement” thing is Mary being maybe a tiny bit remorseful, very touchy and like “I’m supposed to be mad at you by i honestly feel kind of bad for you.” So Sherlock tries to appeal to her emotionally but, let's just say that John has known Sherlock for way to long to be swayed by his bullshit. (aka-no-ken, I'm using some of the stuff we talked about so credit given where credit is due.) John being Ares worked because he is the only one willing to fight Sherlock when he's being dumb. He is angry FOR SHERLOCK, no one else as he doesn't really know anyone from that side of the cast. Think of his anger at Sherlock after the Milverton debacle and that it exactly what we're dealing with, just directed at William this time. It starts with John fighting him and Sherlock defending, then Sherlock very quickly gets angry and fights back. And of course, because Sherlock is stubborn and tends to have a leg up on John in the argument department, he wins this little sibling fight. Seeing this defensiveness from Sherlock does give them the idea that maybe things are starting to get better so they're still wary but willing to let Sherlock navigate his own relationship.

TUMBLR, I WILL MAKE YOU POST THIS

PREVIEW:

AKA-NO-KEN YOU ACTUAL PHSCHIC HOW THE FUCK DID YOU GUESS ALL MY GOD CASTINGS CORRECTLY???

AGAIN, WISDOM SAGA SPOILERS SO READ AT YOUR OWN RISK. ALSO MAYBE A TRIGGER WARNING FOR LOVE IN PARADISE CAUSE THAT WAS MORE THAN I WAS FUCKING EXPECTING.

THIS IS SHERLOCK AND BILL'S FUCKING SAGA NOW BITCHES BROS AND NON-BINARY HOES. AND AGAIN, I'M FANGIRLING AS I GO.

So, with where we left off, William's having a minor relapse in his mental state but it won't become too much of a plot point/serious thing. He and Moran are on funky terms but if there is no "reconciliation" in later sagas then We'll figure that out when we get there. Anyway, this saga ain't about him.

(ALSO, I MISSED A FUCKING OPPOURTUNITY

VON HERDER AS TIRESIAS, IM A FOOL)

Anyway, lets get started.

The Wisdom Saga:

Legendary - BILL IS HERE FUCKERS. SHERLIAM'S ADPOTED SON IS GONNA BE LEGENDARY. I really like how this parallels with Canon when Bill only knew William as a genius professor and Sherlock's actually the one who introduces them in a way. It'll set up nicely for when we get to "I can't help but wonder" and Telemachus/Bill has to toss up with the fact that his Dad just removed the twenty year problem but he did also kill a bunch of people (you know, like in canon.). So this starts out with the lights slowly coming in and Bill's "room" has a chair and a few other easily moveable props. This is a very dancey number I'm finding so these props are probably gonna get taken off stage so there can be actors milling around for Telemachus to interact with, I think he'd be mostly weaving between them trying to avoid them while they keep swiping at him. The majority of suitors can be off the stage but Antinous and a few others are up there ready for the "Whatcha gonna do about it, champ?" The lights would change on Boy to a red colour. It would be so cute seeing Billy fight for Sherlock's Honour. I think something really cool that could happen is when Telemachus sings "somebody help me" the lights flash blue for a second like Athena has heard his plea. and at the very end of the song, he punches Milverton square on the nose (in the fake way of course).

Little Wolf - My big idea for this that would absolutely not transfer over to a regular production of Epic the musical would be that Antinous/Milverton is not the one fighting Telemachus/Bill. I cannot really see Milverton fighting for himself and would definitely have lackey's doing it for him; but outside of this AU Antinous absolutely fights for himself. But yeah, Milverton mocks the shit out of Bill while he's fighting somebody. The lights stay red while the suitors and Milverton are doing their thing. When Athena appears the lights turn blue like fighting of the panic of being in a fight. I think this is one of those moments where its so fun having Sherlock as Athena and Penelope cause it's like "Don't worry baby, Mama's here to help." But, onto the super cool crossover intertexuality talk I can't seem to do right now, Sherlock as Athena fits very nicely cause he, alongside William, helps Bill get into the university; so Sherlock being the one helping in this fight reminds me of that. And Athena's "I've no respect for bullies" reminds me of his disdain for Milverton and his methods of blackmail. ALSO, HER PIANO IN THAT PART IS SO FUCKING GOOD I FUCKING ASCENDED. PAIRING IT WITHT HE DRUMS THAT WAY, WHO DOES JORGE THINK HE IS. In a way, this is like showing how Penelope would like to react to her suitors beating up her son (it just popped into my head but kind of like a batman meme, Penelope dressing up as the goddess of wisdom to fuck up her son's bullies). Athena's whole solo there sounds a lot like Sherlock when he was talking to Irene. And when the fight ends and Antinous says Penelope needs to pick a suitor, Athena/Sherlock is very disturbed before he helps Bill up.

We'll be Fine - The thing I love the absolute most about this musical is exploring Sherlock's side of this whole fiasco they were in and giving him a chance to vent some of this frustrations. Because it wasn't easy on him either and he might blame himself a little bit for not being able to help more. Bill knows a little bit about it from gossip and rumour and being a part of the Epic cast for a little while, not too much but between the two of them, Bill understands that Sherlock is letting out a bit of his frustration with the previous problem and the repeat that seems to be occurring, because he's super smart like that (I say seems because in real life, it won't last that long and William is probably gonna be ok and reconciled with Moran by the time we get there. It'll hopefully make sense once we get to the next saga but I just can't keep knocking this dude over he needs to start healing and giving him a less self-jeopardising problem to fight). Even though he and William have worked through a fair bit of what happened and their still going really strong, Sherlock is still worried. Sherlock's super soft on Bill because he's so similar to William. Bill, while sticking to the script, is just subtly reassuring him that it's ok, they'll get through this rough patch and they'll be fine. Sherlock doesn't need to be the first responder. A little bit of it probably comes out as Bill saying "William wouldn't want you to beat yourself up over this," especially when he mentions Athena's friend (William and Bill are also probably really close friends at this point, don't tell me William wouldn't take him under his wing immediately after they're introduced). When Athena calls him a good kid, Sherlock ruffles his hair and then Bill makes a move like someone's calling him and runs off, leaving him for the next part.

ALRIGHT I'M HAVING FUCKING ISSUES WITH TUMBLR RIGHT NOW SO STAY TUNED FOR PART TWO BECAUSE ANYTHING LONGER THAN THIS WONT FUCKING POST OR SAVE AS A DRAFT.

@aka-no-ken I'M COMING SWEETIE AND I'M BRINGING MY WORK WITH ME JUST BEAR WITH ME

#yuumori #moriarty the patriot #yuukoku no moriarty #sherliam #william james moriarty #sherlock holmes #billy the kid #bill hunting #john watson #mary morstan #miss hudson #george lestrade #epic the musical #epic the wisdom saga #Epic X Yuumori AU

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poisonouswritings · 3 years ago

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Ok ok here me out-

How about Last Legacy reverse au? Mc is originally from Astraea and is accidentally summoned to earth by Felix

Felix being his goth emo self messing around with forbidden items he bought from dark web (or toys r us your choice) he wanted to summon a demon or something but because he didn't read the instructions (as always) the spell went wrong and now mc is now on earth

He calls both Anisa and Sage and after a lot of explanation they decide that one of them has to take care of mc

Imagine Mc. This badass, cool, confident person who's an expert on both magic and fights acting like a child in a candy store and being in awe of everything on earth. And even with the tragic events they experienced because of the shadow bastard they're still able to find happiness in small things. They have an absolute heart made of gold and want to give the world to their Lis

Also MC's race change depending on their Lis (human with Felix, half Ilephta with Anisa, a full Ilephta "cat person" with sage)

Also imagine sage going into an existential crisis because mc got him questioning himself if he's a furry or not 😂😂

Fun fact no one asked for!! I have an au kinda like this for my OCs. Basically Felix wants to be a ghost hunter and convinces Sage and Anisa to explore an abandoned church with him. They unseal an ancient curse and end up freeing three demons. Also call it my Dragon Maid AU lol.

Reverse AU

In my headcanon, M3+MC all share an apartment/house together, with MC sleeping in their LI's room. Why? Because that's how I did it in my AU and I still think it's a cute idea

Felix (Human!MC)

Yes he got them from Toys R Us

Actually no, he got them from a deep web store but the sellers got them from Toys R Us and Anisa and Sage point this out but Felix refuses to listen

Anyways

He asks you to teach him magic!! You'll start rambling about an old spell that went wrong or whatever and he's just furiously scribbling notes trying to follow along

Confident and suave MC goes into a big ol library and is just zipping around trying to read everything while Felix starts checking shit out with his library cards

Felix! Takes you to a movie!!! Obviously a tragic romance and he's just holding your hand and sobbing while you're concerned because Felix How'd They Get All Those People On The Screen???

Feels really bad about stealing you from your world but at least he can teach you shit while you're here!

Takes you to crystal stores! Occult stores! Book stores!

Homemade silly little science projects! Like the kits you get at Toys R Us or Barnes and Nobles or whatever does the 'dish soap and pepper' trick and you're losing it

You try to court him like you would on Astraea and he's like 'what tf are you doing darling??' because Astraea prob has some weird rituals

He gets sparklers (fireworks) and you guys pretend they're magic wands and have battles

Probably followed a lot of fan theories and fanfics but didn't actually play the game

Anisa Anka (Half-ilephta!MC)

You have elected to be looked after by Anisa! She loves taking you out to get lunch. One of her big love languages.

So one of the streets near my house used to do a Wednesday Food Night thing during the summers. Food trucks lined the street for like,, a mile and all night people would walk up and down and try everything. Anyways I feel like Anisa would love taking you to do that!!!

Porhaps I'm projecting here but I feel like Anisa would be into learning about other cultures. If there's ever any cultural events nearby (like specials shows at museums or public festival gatherings or whatever) I think she'd definitely wanna take you along. I,, am thinking,,,, Oktoberfest specifically,,,,,, but I'm just drawing that from my own experiences

Takes you to the park,, exercises with you,,, likes when you see a squirrel and your pupils narrow as you suppress the urge to chase it,,,,

Likes hearing your stories about anything you wanna talk about it!! Fascinated by all of that.

Tries to help you cook Astraean stuff!! Snaccs!!!! She's really bad at it but if you direct her she could probably not set it on fire!!

Does take you to candy stores!! She likes candy and she likes the aesthetic.

If/when you have anxiety attacks or flashbacks or night terrors or whatever, she's the best at calming you down.

Feel like,, she uses YouTube to learn yoga and she makes you do it with her. Impressed by your flexibility.

Is probably the one who actually played the game.

Sage Lesath (Ilephta!MC)

He spends like,,, a month questioning if he's a furry. Eventually asks Tulsi. Tulsi says that according to anime rules it doesn't count, but in her opinion, it depends on whether or not he finds the animal attributes cute or hot. So basically he still has no idea if it counts or not. Depending on what type of ilephta you are he may get you a collar cause he's a perv

(initially) Takes you to parties! House parties, hookah lounges, karaoke bars, concerts, possibly a rave or two.

I think once he gets more comfortable and starts emotionally opening up a little more, I think he takes you to quieter places. Obviously Tulsi's job/apartment but also lookout points, maybe hiking, malls, the beach, etc. I think the more he loves you the more domestic the trips become.

Yes I'm stealing a scene from my own au because shut up So Imagine that,, you two have been getting closer and that admittedly scares him a little bit,,, he's just not used to it y'know,,,, so he goes out to the bar with the idea of distracting himself. But it doesn't really work because he can't stop thinking about you (maybe the bartender, who is used to seeing you come along, innocently asked about you and makes Sage realize just how much he's integrated you into his life but he never noticed it before because it just feels so natural),,,,, and then he gets home at like 4 in the morning and he's exhausted and he hears this familiar little purring-snore sound that instantly calms him down a little bit,,,, he comes over and gently wakes you up to ask you why you're sleeping on the couch and you kinda,, yawn and lean your head against his hand and he starts scratching behind your ears,, and you say that he normally gets home at a certain time and when he didn't this time you were a little worried,,,, you fall back asleep as he's still petting you and he's just internally screaming

This man 1000% gets a crate of various cat toys to fuck with you. Likes pointing the laser pointer at Anisa and Felix so you tackle them. 1000% tries giving you catnip to see what happens.

Once he finds out about all the battles you've been through, definitely tries to take care of you and pamper you a bit. Someone tries to shit talk you and even though you're more than capable of dealing with it he still jumps to your defense.

Didn't play the game but looked at a lot of fanart. (Solid chance he had r34 of you on his phone but after meeting you he felt like it was weird and deleted all of it)

#last legacy #fictif last legacy #felix iskandar escellun #felix escellun #fictif felix #last Legacy felix #felix escellun x reader #anisa anka #fictif anisa #last legacy anisa #anisa anka x reader #sage lesath #fictif sage #last legacy sage #sage lesath x reader #mutual asks #ozzy answers #ozzy daydreams #fren

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serendipitous-magic · 3 years ago

Note

What is your writing advice for young people who want to write fanfiction and original stories in the near future?

If this is just Way Too Much, skip to the end (#16). My most important piece of advice is there. I also happen to think #5 is pretty good.

-_-_-_-

1) Literally just write. Write whatever you want, and do a lot of it.

_-_

2) You don’t have to post everything. In fact you don’t have to post anything. You can, don’t get me wrong, but it can be intimidating to sit down and think “I will now write something that other people will see and read and judge with their eyeballs.” Because that’s probably gonna lead to nerves and writer's block. Just write down the ideas that you have, the things you want to write, whatever’s in your brain that you want to explore and expand upon and make into something. And then if you want to, share it. Or don’t share it. I have plenty of half-baked ideas and documents and random story chapters and shit hidden away on my Google Drive that will never see the light of day, for a whole number of reasons. I wanted to write it but it wasn’t ~Spicy~ enough to warrant posting, or it’s only like an eighth of a good idea, or it’s like one scene with no story around it, or it’s just something incredibly self-indulgent I just wanted to write for my own enjoyment.

Point being, don’t write for other people. Don’t write so that other people can read it; write what you want, write for yourself, and then if you want to share it, do.

_-_

3) You can pretty much ignore any and all of these for fanfiction. In fact, you can ignore pretty much any rules or guidelines you want for fanfiction. Fanfic is a sandbox. You don’t have to be a “professional writer” to post fic. No one expects you to be Stephen King or Margaret Atwood. Fanfic is just for playing in a fandom and having fun. If you wanna write a 50 chapter slow burn with very little plot aside from the OTP slowly getting to know each other, and no real stakes or central conflict, I guarantee people would read that. Really, fanfiction is the Old West of writing: lawless, wild, unpredictable, and free.

However, here are the rules you must follow:

-Separate your paragraphs. (I’m sure you know this already, but I’m gonna say it anyway just in case.) Do not post one big block of text. Make a paragraph break when someone new is talking, when the characters are in a new place, when a new event occurs that changes the scene, when a chunk of time has passed, and when there’s a major change in subject.

-I know it’s obvious, but... grammar, punctuation, and capitalization. They exist to make writing easy for readers to read, and more people will read your stuff if they don’t have to stop and try to figure out what you meant.

-Use tags and labels, as is possible with whatever site you’re using. Especially if you include possibly triggering content in your story. Again, I know it’s obvious, but it’s common courtesy. Bonus: tagging the themes and content of your story helps readers find it and read it :)

-If possible, limit the use of all-caps and exclamation marks / question marks. 99% of the time, one ! or one ? will do. If you overload the page with a lot of all-caps and long rows of exclamation marks or question marks, it hampers readability.

... That’s literally all I can think of. And, like I said, it’s all pretty basic stuff. You were probably rolling your eyes like, “Uh, yeah, Gwen, I know.” But that’s literally it. You can pretty much do whatever you want in fanfic.

That being said, here’s my advice for both fanfiction and original work...

_-_

4) A quick and dirty rule for coming up with a plot, starting a story, keeping up pacing, or maintaining tension: figure out what dreams, desires, and goals are nearest and dearest to your main character’s heart (see #16). Then set up the main conflict to be directly in opposition to that goal. It doesn’t have to be in a tangible way, though it could be. But, if your main character wants more than anything to reach the ships on the southern coast of your world and sail to a new life, make sure the main conflict immediately prevents them from doing that - in fact, make sure to send them north. If your main character just wants to keep their loved ones safe, kidnap the loved ones. If your main character just wants to date their best-friend-turned-crush, make sure they think they have no chance - or, make them cocky about it, and make sure it makes Person B determined not to ever like them. You get it. Figure out what your character most wants, and then keep them from having that. Boom - your conflict now ties in with your character's motivation. It's like instant yeast for plots.

_-_

5) If you’re anything like me, you want your first draft to be Good, despite all that advice about how the first draft doesn’t have to be good and it’s just to get words on the page, yadda yadda. And if you’re somewhat of a perfectionist (like myself), it’s easy to get stuck looking at a blank page because you don’t have The Perfect Words, and you want what you write to be Good the first time.

Here’s how I cheat that:

Instead of trying to write a Good First Draft from a blank page, hit the enter key a few times, skip a little down on the page, change your ink to red (or blue, or whatever - just something immediately identifiable as Not Black) and just thought vomit. Write whatever the hell you’re thinking, exactly as you think it. Don’t worry about it being readable, don’t worry about narrative flow for now, don’t worry about covering all the details, don’t worry about anything except either a) getting all the details of your idea out onto the page, whether that’s a lot or whether it’s just a sentence or two, or b) if you don’t have an idea yet, finding your way there.

Because this method is also very good for finding your way to ideas when you’re stuck in writer’s block.

Because of how human brains work, getting this stuff out onto the page - in all its messy, stream-of-consciousness glory - will likely spark more thoughts. As you write your original idea about the scene, it’ll likely spark more ideas. Creation begets creation. If you just start thought-vomiting your ideas onto the page, chances are you’ll think of more things as you go, and you’ll start filling out description or dialogue or tone or action or whatever, and pretty soon the scene starts writing itself.

Not sure where you’re going with the scene or which ideas you wanna use? Use a lot of ambivalent language in your “thought-vomit draft.” My pre-writing notes are chock-full of the words “maybe,” “perhaps,” and the phrases, “At some point...” and “...or something like that.” In this way, I don’t tie myself down to one idea; it’s just an idea, and I’m keeping it on the page in case I use it, but I might chuck it in the trash or change it or whatever.

And then, once your ideas for the scene (or story, or chapter, or whatever) are on the page, then go back to the top and start translating them into a “real” first draft. Use black ink, and start copy-pasting chunks of the thought-vomit up into the top part of the document and translating them into Draft 1. Separate out paragraphs where paragraph breaks should be. Add the correct punctuation and whatnot. Change “describe the lobby here - include potted plants, fancy carpet, blood stain, etc.” into an actual description of the lobby. Flesh it out, or condense, or whatever it needs. And if you’re still stuck, change back to red ink and ramble some more until you find a path that feels right, then plug that in. This keeps you from looking at a blank page, and it allows you to generate a kind of Draft 0.5, somewhere between a plan and a first draft.

You don’t have to use every idea. Like I said, jot down whatever comes to mind, put a “maybe” before or after it, and keep working. If the idea grabs you and you wanna keep expanding on it and exploring it, cool. If you just wanna jot it down so you don’t forget it and then move on, also cool. Red-ink draft / “thought-vomit draft” is your time to jump around in the timeline, add or finesse details at whatever point your brain moves to, etc. Don’t try to do it exactly in story order, because you will get tangential thoughts and ideas, and you will not remember to write them down five pages later when you finally get to taking notes on that scene. Trust me. On that note...

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6) Write everything down the moment you think of it. Seriously.

“I’ll remember it when I get around to writing that scene in a couple days / weeks / months (/years).”

You won’t.

Write it down.

Phone, journal, google docs - hell, my family regularly laughs at me for grabbing a napkin during dinner and scribbling thoughts down alongside pasta sauce stains.

And then, once you have it written down somewhere...

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7) Consolidate your writing ideas in one place.

Maybe this isn’t really your style, and that’s totally chill.

Buuuut, if you’re Type-A like me - or if you tend to be somewhat unorganized and you know you’ll lose track of your writing notes if they’re scattered across multiple notebooks, journals, napkins, phone notes, etc. - having one consolidated document of notes is a life saver. I keep mine on Google Docs so I can access it, add to it, and look through it for inspiration anywhere at any time. When I have one of those Shower Thoughts that I jot down on my phone or on a napkin during dinner, I set myself a reminder on my phone to type it up in my Story Ideas document later.

(Or, if the idea I had was for a story of mine that I’ve already started planning / drafting / whatever, I put it in the document for that story instead of the Big Random Story Ideas doc. You get it.)

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8) Have other ways to collect and save writing ideas, besides just writing stuff down. If you like Pinterest, make pinterest boards of your characters or stories or settings or whatever. If you’re big into playlists, make a playlist for your character / setting / story / etc. Or both. Or something else. I’m not good at drawing, but maybe you are, and maybe you like to draw your ideas. Whatever form it takes, having another way to save ideas and think about your stories is invaluable.

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9) Some writers can just start writing with no idea where the story is going, and they just kind of figure it out as they go. I envy those writers. And I do that sometimes for fanfiction, where the stakes are somewhat lower and the audience is reading more for scene-to-scene enjoyment (and to see their OTP kiss) than for a Driving And Compelling Narrative.

But here’s the thing: especially if you’re just kind of starting out, writing without some sort of plan is really, really hard, and will likely lead you into a slow, meandering narrative that will likely frustrate you.

Even if you think you’re someone that just can’t write with a plan (and again, I have the highest respect for pansters out there - I don’t know how you do it, you crazy bastards, but you keep doing you) - even if you think “I can’t work with plans, they’re too prescriptive, I just want to write and see what happens -”

Try at least making the most skeletal of plans.

Even if you have no clue what 90% of the story is, yet. That’s fine. But you need to have some idea of what you’re building to, even if that’s nothing more specific than a feeling, or a turning point for your character. Even if your entire plan for everything beyond Chapter 1 is, “At some point, Charlie needs to realize that Ed was lying to her.”

This is where those Draft 0.5 notes come in handy. Because, more than likely, working on your current scene that way will spark ideas for later scenes, which you can put down at the bottom of the document and save for when they become relevant. In my experience, the line between planning ahead and making a Draft 0.5 is exceptionally thin. One can quickly turn into the other.

If you’re really, really resistant to the idea of planning ahead, that’s okay. It’s not everybody’s style. But for the love of all that is holy, write down your ideas for future scenes, even if you’re a person that doesn’t like to plan and writes only in story order, because you will not remember that idea once you get to that scene.

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10) You don’t have to write in order.

Here’s the thing: I’m a person that can only do my Draft 1 in story order (meaning, chronological order). I just have to be in that flow; I need to write in story order for me to best channel where the character is at from scene to scene, both narratively and emotionally.

But my Thought Vomit Draft is another thing entirely. By using the brain hack of putting my notes in red (or another color, it doesn’t matter) and going down to the bottom of the document / page and taking notes there, and then integrating them into whatever plan I have, and then translating them into Draft 1 once I get there in the story - by doing that, I can get my good ideas onto the page (and expound upon them and let my muse carry me and ride that momentum while I’m in the moment of inspiration) without writing out of order.

Maybe that’s just me. But if you’re a person who really prefers to write in story order, that could be hugely helpful to you. It is to me.

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11) Emotion and motivation will do more for your story than technicalities of plot.

If your characters really care about something, and their journey through the (shaky or weak) plot is emotionally engaging, it will be a much more compelling story than a story with a “perfect” plot and unrelatable or unmotivated characters.

If your characters care about what they’re doing, and it means something to them, and their goals and actions are driven by dreams or fears or emotions that are integral to who they are, your audience will care too. If you have a perfectly crafted plot that hits all the right beats and has high stakes and fast pacing and drama - but your characters don’t connect with what’s happening in a way that’s deeply meaningful or emotional for them? You’re gonna have a hard time engaging readers.

When in doubt, prioritize character emotion and motivation over plot. Emotion is what drives story.

This power is highly exploitable. (Just look at pulp novels and shitty but entertaining movies.) You can even use it to glaze over plot holes or reinvigorate a limp narrative. Use it that way sparingly, though. It’s a band-aid, not a surgery.

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12) Evil villains are hard to write - mostly because there are very few truly evil people in the world. (There are a few. Billionaires and several big name politicians come to mind.) But by and large, there aren’t that many evil people. There are plenty of bad people, but bad people have some good in them, somewhere in there. Trying to write an evil villain is hard, because they often turn very cartoony.

Here’s a tip: it’s much easier to write antagonists who aren’t evil. Even if they’re bad people. Of course, there’s no reason you can’t write a villain that’s just truly evil - a serial killer, or an abuser, or a billionaire, or someone who legit just wants to hurt people or blow up the earth or stay in control of an oppressed population, or whatever. But chances are, it’s gonna be really hard to make them feel real, and even harder to create a plot around them that doesn’t feel forced or contrived.

Instead, try writing an antagonist / villain whose motivations and goals directly clash with your protagonist’s - but not because they want to take over the world or see people suffer. Write an antagonist who’s chaotic good, but whose perception of the situation is completely opposite from your hero’s. Write an antagonist whose only desire is to save people, and who will do anything to achieve that goal - anything. Write an antagonist who believes in the letter of the law, and will hinder and oppose the hero’s methods even if they agree with the hero’s motivation. Write an antagonist who got in way over their head and did some things they regret, and now they don’t know how to get out, and they’re doing their best but whatever they set in motion is too powerful for them to stop now.

Write villains who are human. Write a killer who thought they were doing the right thing by taking their victim out of the equation, who vomits at the sight of the body and sobs over the grave they dig. Write a government leader who truly believes she’s doing what’s best for her people in the long-term, even if it might hurt them in the short term, and is willing to endure the hatred and belligerence of the masses if it means securing what she thinks is a better future for her people. Write a teenage bully that thinks they’re the one being picked on by the world, and they’re just fighting back, standing their ground. Write a scientist who will break any code of ethics and hurt anyone he needs to - in order to bring back his baby sister from the grave, because he promised her he’d protect her and he failed. Write an antagonist who is selfish and self-centered and capricious - because in order to survive they had to look out for Number One, and that habit ain’t about to break anytime soon.

Write villains who aren’t even villains. Write antagonists who oppose the hero because of moral differences. Write antagonists who are trying to do the right thing. Write antagonists who treat the heroes with kindness and dignity and respect and gentleness.

They don’t have to be good. They don’t have to be Misunderstood Sweethearts who “deserve” a redemption arc. They can be cruel and nasty and dismissive and callous and violent and etc. etc.

Just hesitate before you make them Evil-with-a-capital-E. Because evil is hard to write, and honestly, boring to read. Flawed human beings with goals and motivations that directly oppose the main characters’ are much easier to write and much more interesting to read.

Ask why. Why is your villain trying to take over the world? What does that even mean? Are they trying to create a Star-Trek-like post-capitalism utopia, but they know that won’t happen in a million lifetimes, so they’re trying to do it by force? Are they actually super in favor of human rights, but they got very impatient waiting for the world to do anything about poverty and war, so they decided to take it into their own hands? Are they determined to fix the world - no matter the cost? Are they terrified and overwhelmed, but committed to see it through to the end? Or - maybe they’re just doing it on a dare. Maybe they don’t really give a shit about world domination, they were just a mediocre rich white guy who decided to fuck around and find out, and now he’s kind of curious how far he can take this thing. And now he’s kind of an internationally-wanted criminal, so he’s kind of stuck living on his hidden private island in his multi-billion dollar secret base, strapping lasers to sharks’ heads for the hell of it. Gross, selfish, uncaring, and dangerous? For sure. Evil? Depends on your definition. See, now we’re getting somewhere.

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13) It’s tempting to let the plot control the characters. It’s easy to drop your characters into a situation and see how they react. But here’s the thing: that doesn’t drive plot. In fact, it bogs down pacing. Instead, try to build you plot off of your characters’ actions and decisions. Let your character build their own situation. Not to say it should go they way they wanted it to go; in fact, usually, their grand plans should go to hell very quickly. But having the characters take action and make decisions, and letting the plot develop based on that, is much easier to make compelling than making a rigid series of events and then trying to herd your characters into them.

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14) Having trouble justifying a character’s actions? Consider having them make the opposite decision, or having them approach the situation in a different way. For example: you need your character to go meet the bad guy, for plot reasons, even though there’s no way it’s not a trap. If the character goes, readers are gonna be groaning with their head in their hands, because c’mon man, that was really fucking stupid. But he’s gotta go, because the plot needs that. Two ways you might handle this: a) He knows it’s probably a trap. He decides not to go. The plot conspires to get him near the villain anyway. Or, b) He knows it’s a trap. But he needs to go, for (insert reasons here). So, he approaches it in an unexpected way. He brings backup, recruiting a side character we met earlier in the story. Or he arrives on the back of a dragon, because ain’t nobody gonna fuck with a dude on a dragon. Or he goes - early, and ambushes the villain. It may work, it may not. He may get himself kidnapped anyway. But it moves the plot along without having Stupid Hero Syndrome.

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15) This is a legit piece of advice: if all of this sounds overwhelming, literally just ignore it and write what you want. For real. Writing should be fun, and every single writer operates differently. If you’re sitting here like “I’m getting stressed just reading this,” just flip me a good-natured bird and get on with your life. I promise I won’t take it personally. Same goes for literally any other writing advice you see. Lots of rules and guidelines can very quickly make anything thoroughly un-fun. Just write. If you’re passionate about it and you do it for long enough, you’ll start figuring out the tips and tricks on your own.

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16) Here’s the best piece of advice I can give you: know your characters. More importantly, know what’s important to them. Build their personality and decisions off of that, and build your plot off of their decisions.

I see a lot of character building sheets that ask a shit-ton of questions like “What’s their most prized possession?” “Do they like their family?” “What’s their favorite food?”

And while these are good questions, my problem with this type of character building is that if you start there, with the little stuff, you’re building on nothing. IMO, to make a truly strong character (not strong like Inner Strength, strong like effective), you need a strong foundation.

Here are the things you must know about your character:

a) What are their greatest fears / deepest insecurities? And I don’t mean “wasps” or “heights.” I mean the deep shit. I mean fears like “living a meaningless life,” or “turning out just like their parents,” or “that no one will ever love them,” or “being powerless.” You may say, “But they’re really scared of wasps! They fall into a wasp nest when they were little and got stung so much they almost died!” Great! That’s a fantastic bit of backstory. They should absolutely be afraid of wasps, and that should absolutely be an impediment later in the story. But dig deeper. What about that event actually scarred them? Was it the helplessness? Stumbling around, swatting at the air, not being able to do a single thing to stop what was happening to them? Was it that they were alone, and no matter how loud they screamed, no one was coming? Was it the bodily horror of feeling themself turn into an inhuman creature as they swelled up from the stings, unable to move their fingers or face normally anymore?

And don’t forget insecurities, because those factor in, too. Are they deeply insecure about their identity? Do they believe, deep down, that they’re ugly? Did they grow up poor and they’ve always been really touchy about that? Why? Dig deep. Figure out what really, really bothers them.

b) What are their hopes and dreams? What do they truly want out of life? What do they consider the most valuable to their experience here in this thing called life? Is it the freedom to forge their own path and be independent? Is it the approval of their family or peers? Is it a home? Is it knowledge, or understanding? Spiritual fulfillment? Is it deeply important to them that they contribute to their community, or protect those they love? What do they need in order to feel truly and deeply fulfilled in life?

Figure out those two things (each one encompasses several things, btw, you don’t have to stop at just one for each), and then use that to inform how they behave and the types of decisions they make within the story.

It also informs character behavior and personality.

Let’s say we have a character who’s afraid of helplessness. They’re probably gonna be the person that always wants to do something, try something, no matter how hopeless the situation seems. They’d despise just sitting and waiting, probably, because it makes them feel powerless. They might even be the person that makes rash decisions and acts impulsively and puts themself in danger unnecessarily, because in their mind it’s better than being at the mercy of fate. This is one way you could use a character’s personality to inform their decisions, which in turn helps to inform plot.

Or, let’s say we have a character whose greatest fear is being left behind or forgotten. We may have a chatterbox on our hands. They might be obnoxious. They might love the spotlight, constantly vying for attention no matter the situation, because deep down they’re so afraid that they’d be forgotten otherwise. Or, it may go the opposite way. They may be so afraid of people leaving them that they’re terrified of bothering people. They don’t want to do anything that could annoy people, anything that might give people a reason to leave them. They might be exceedingly polite, quiet, accommodating. A push-over, really.

These are two nearly opposite types of personalities, both stemming from the same core fear/insecurity. You can go a lot of different ways with it. But if you build on that strong foundation, you’ll have a strong character, and a stronger plot.

Likewise, the structure of your story can and should inform the design of these character traits. If you need your characters to team up near the end, it may be impactful if you give your main character a deep fear of commitment, an insecurity about being unwanted or left behind, and make them highly value independence and freedom. That could make their team-up for the final battle very meaningful. Conversely, you can use your character’s deepest fears and desires to help design the plot. Is your character deeply insecure about voicing their opinions or taking a stand, because of trauma they faced in the past? Make them face that. Build that into the climactic third act. Give them the big inspirational speech where they stand up and talk about what they believe to be important, what they think the group should do. And then design that character arc to run through the story, giving you more handholds and stepping stones, more pieces of foundation on which to design the plot.

In this way, character should inform story as much as story informs character. It’s a feedback loop.

Bonus: if you build your character and your plot off of each other in this way, it automatically starts to build in the foundations of that emotional investment I mentioned earlier. If your character’s decisions are based on what they most want and do not want in life, you basically have your character motivation and stakes pre-built.

Note: you need to know these things about your villain, too.

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I’m genuinely sorry about the length of this, lmao. But you did ask.

Best of luck!

Edit: I forgot an important one:

17) Start when the scene starts and end when the scene ends.

What do I mean by that?

If your notes say “Danny asks Nicole out after school and majorly flubs it,” start the scene when Danny approaches Nicole after school. Better yet, cold-open the scene on “I was wondering if, you know, you’d wanna. You know. Hang out some time?”

Don’t start that morning when Danny goes to school, unless you’re gonna cover the school day in like one or two sentences. Don’t spend whole paragraphs going through the school day, unless it’s to cover other plot points first (in which case apply these same guidelines there), or if the paragraphs are there for a specific reason, like to illustrate how stressed he is and how it seems like every little thing is going wrong. Even then, trim the fat as much as possible. Expounding and describing everything Moment-to-moment is for the meat of the scenes, not the leading-up-to and coming-away-from.

Here’s my rule of thumb: study how and when movies cut from scene to scene. Movies have exceptionally strict, limited time for storytelling; they’re excellent examples of starting a scene when the plot point starts and ending when it’s over. If you can’t picture a movie showing everything you showed, start the scene later and end it earlier.

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