#because in this space they are people that don't think too much about this

[lacydollette]

Lol, this is from my own current personal angst in my life but I was thinking it can be used for an angsty Rafe x Reader. I have very low self esteem, I don't think I look pretty so I have a hard time accepting that a guy could be interest in me or find me appealing, especially cuz guys have called ''mid''. Right now I'm talking to THE sweetest guy. THE most greenest flag of all. Super respectful, mature and kind. I had a freakout and pushed him away, wanted to stop talking. He got super upset, send me a drunk text basically being like ''I'm so attracted to u and your everything I've ever dreamt of. I just wanna make you happy and make you smile. Your so special to me. I keep saying that your beautiful, amazing and gorgeous but you won't hear it. Please don't let your insecurites get in the way of us. I fkn miss you'' I mean...hey feel free to take whatever inspiration you want from that, change it, build on it, whatever you want! We just want a sappy head over heels Rafe who is heartbroken being pushed away (but with a happy ending)

a/n tysm for sharing this with me! and please don’t let your doubts get in the way of your happiness. you are BEAUTIFUL and you MATTER ❤️‍🩹 i hope u like this little piece.

warnings rafe cameron x fem!reader, reader with low self esteem, situationship, angst, fluff, rafe being a sweetheart

Rafe couldn’t really tell when it started, but he could feel it in your forced smiles and short responses. He tried to convince himself it was nothing, but the ache in his chest told him otherwise. Every attempt to figure out what he had done wrong was met with your dismissive shrug and a short, “I’m fine.”

But what Rafe didn’t know about was the chaos in your mind. You liked him—really liked him—but your insecurities were keeping you from letting yourself fall completely. You couldn’t ignore the way girls seemed to flirt with Rafe at parties, the way people whispered that you weren’t pretty or cool enough, to be with someone like him. It didn’t matter how many times he told you that you were beautiful—the doubt in your mind drowned out his words. So, you began to pull away, convinced it was only a matter of time before he realized you weren’t what he wanted.

And that’s why Rafe ended up going to this party alone, although it should have been a night that you two spend together. You had promised to go, only to back out at the last minute with a stupid excuse about not feeling well. Rafe knew you were lying. Obviously he didn’t want to go without you, but after Topper wouldn’t stop begging him, he gave in.

He spent the first hour trying to lose himself in the crowd, nursing a beer and pretending to laugh at Topper’s jokes, but it was useless. Every girl who tried to flirt with him only reminded him of you, and every drink made the knot in his chest tighten. Eventually, he escaped out into the yard, needing space to think—or maybe just to breathe.

The cool night air sobered him slightly, but not enough to stop him from pulling out his phone. His fingers hovered over your contact before he finally hit call. It rang three times before you picked up.

“Rafe?” You said softly, voice trembling slightly. You winced at how vulnerable you sounded.

“hi, baby.” he said, his voice breaking slightly before going right in. “What’s going on with you? Please, just tell me. Did I do something? Did I hurt you somehow? Because if I did, fuck I swear to God, I didn’t mean to.”

Your throat tightened, guilt twisting in your stomach. He sounded so desperate, so unlike the confident, self-assured Rafe you knew. You didn't know what to say, how to explain something you couldn't even fully understand yourself.

“Talk to me, y/n,” he pleaded. “I can’t do this anymore. I can’t keep guessing what’s wrong. I care about you too much to lose you like this.” His voice cracked, and he raked a hand through his hair, his frustration spilling over. “I’m completely crazy about you. I don’t care about anyone else. You’re it for me. You’re the only one I want.”

Your heart shattered at his words. He cared about you, really cared about you. But how could he? How could someone like Rafe Cameron, with his perfect smile and effortless charm, care about someone like you?

"Rafe..." you whispered, unsure of what to say. “No,” he interrupted. “You have no idea how much you mean to me. I think about you all the time—when I wake up, when I go to sleep. You’re all I want, y/n. And if there’s even a part of you that feels the same way—then please, stop pushing me away.”

The silence that followed was unbearable. Rafe leaned against a tree, his heart pounding so loudly it drowned out everything else. Then he heard you breathe out, followed by muffled sobs, which you tried so hard to suppress by pressing your palm over your mouth. You wanted to believe him, wanted to let his words sink in and erase all your doubts. But the fear was still there.

“I didn’t think I was enough for you,” you finally whispered, voice trembling. “You could have anyone, Rafe. And people keep saying I don’t deserve you, and maybe they’re right.”

“Are you kidding me?” he said, his voice rising as he couldn’t believe that you’d actually think that. “Baby, you’re more than enough. You’re everything. Don’t let what other people say get in your head. They don’t know you. They don’t know us.”

Your sniffle came through the line, and he could picture you wiping your tears, head bowed like it always was when you were upset. “I just… I didn’t want to hold you back.”

“You’re not holding me back,” he replied softly. “You’re the only thing keeping me sane.” He paused. “Please, just let me in. Let me prove to you how much you mean to me.”

The sincerity in his voice was undeniable, and you believed him. Believed that he was serious about you two. “Okay.” You said. Relief washed over him, and he exhaled shakily. “Okay,” he repeated, his lips curving into a smile. “I’m coming to you right now.”

Your eyes widened, “No, Rafe, you don’t have to—”

“I want to,” he said firmly. “Stay where you are. I’m coming to you. We’ll figure this out together.” And with that, he ended the call, his heart pounding with determination. He didn’t care what anyone else thought. You were his, and he wasn’t going to let you go.

[reidingandallthat]

cranberry juice

spencer isn't sure what to do in his days of addiction but there's one familiar stranger that's present to help him forget, if only for one night, or maybe more.

words: 3.6k spencer reid x undercover!reader tags: well, dilaudid addiction, dark inner thoughts, nausea, mentions of withdrawal symptoms, alcohol, talks of a bar that's commonplace for criminals ig lmao, all for the plot, metaphors using space time continuum, some other nerd talk, yk the usual. reader is supposed to be an undercover agent, but here there's not much mention of it because this is very heavily spencer's pov. very much apologize if there's any inaccuracies with anything.

a/n: EXTREMELY nervous to post this hahaha. this comes from that one post i made, and i have too many ideas for undercover!reader if this even works out, this is purely to quench my need for this idea to happen.

The music in the club- though Spencer thinks it deserves a more modest name- was soft and slow, almost jazz, as the only couple on the dance floor clung to each other, swaying slightly to the music, the other part of the club which isn't so quiet is riddled with people surrounding tables and gambling rich men. It's not a common sight to see him drinking, less so to see him slurring through his words as he orders another one. His head hung low, leaning on the bar on his elbow, his eyes barely opening, a blinding headache obstructing his vision and line of thoughts. Possibly why he was out drinking. 

The bartender gives him a look, obviously sensing that this isn't a common occurrence for the gentleman in front of her, but she obliges. 

“If you wanted to get shit-faced drunk, this ain't the place for it,” She says in quiet contempt as she slides the glass over to him, but wears a smile as she composes herself again.

Spencer already knew that, but this was where his car had taken him, and he really didn't wanna be home. 

Truth was, Spencer hadn't had much to drink, all his symptoms were of withdrawal. 

Insomnia, dilated pupils, nausea, lightheadedness etc etc. he could list a few more. Spencer laughs as all the things he has read about addiction appear like check marks in his brain. None of the papers ever tell how agonizing it is to just exist, how the drug becomes the only thing you need, but the only thing you also don't want. How it feels to want to rip away your own skin, to bash your head against a wall until you feel the familiar pinch of the needle being injected. 

He should have known this would happen. 

When the hours of the night felt too long he thought of driving away, maybe his home was the problem. It reminded him too much of that night. Even in the car he felt like he needed to be out, his thoughts immediately thinking where he could get a dose, how he needed to buy another empty injection, he's used the other one more than twice. He should have known it was his own brain, the one thing he can never escape, it's always been too ahead of him, too fast.

He should have known the need would not go away just because he's away, the goosebumps, the torture would not stop, that he would need something to satiate himself. Even the warnings of driving while under the influence wasn't enough to stop him. 

So here he was, barely aware of where he was walking in, sitting on a chair, his head down, pressed to the wooden table. It's his second drink (that he isn't even halfway through), but sleep hasn't greeted him.

Spencer thinks of things to distract him, entropy, a measure of disorderliness of a system and he wonders how much he would measure on that scale. The world is leaning towards entropy every day, and maybe his callousness today has contributed to that metric, however illogical that thought might be.

It's when he feels the air surrounding him change when he thinks of gravity. Gravity isn't a force, according to Einstein, something people always find fascinating when he randomly rambles about it. It's a “force” caused by the curvature in space time, this is where he loses most people, often ending with someone stopping him as he tries to explain what is a space time continuum.

He lifts his head to see a blurry figure, his eyes adjusting to the light. He'd been sitting in a corner so as to not be noticed, so he's sure his company knows they're not welcome. 

But he's suddenly unsure about his previous claim when he sees you, your head looking at him sideways, chin resting on your shoulder, your body turned towards the bar. You have a curious look on your face, but if he's being honest, it's more amused than concerned.

“Tough night?” You ask, averting your head towards the bar as the bartender comes over to ask your order, a smirk on her face as if she knows something he doesn't. 

“What's your poison?” You ask again as you hand tell the bartender your order quietly enough that he can't make it out.

Spencer doesn't bother to answer, his brain too foggy to be polite, his tongue too heavy to retort.

“Oh, c’mon, talk to me. I'm bored.”

You say again, the amusement laced through every word which makes him more annoyed. 

“Please.” He mutters, not feeling the need to clarify his request, he has no interest in putting up an act with a stranger, it's hard enough to socialise when he's sober, this is hell.

You don't budge, though he feels the glass he's been clutching lightly being taken from his hands. That catches his attention.

He sits up, head still heavy as his eyes squint to let his pupils contract, light dilates your pupils to let as much light as it can into your eyes when there's darkness, a fact running through his brain, a common occurrence.

The glass is returned to his hand, well, another glass but it holds a clear liquid. He takes a sip and grimaces, it's water. 

Drink the water, alcohol dehydrates you-

He pushes the water away, not keen on listening to himself anymore.

“What's your problem with water?” The stranger asks again, and he hates it. Her voice is nice, too nice for his self- destructive mind right now, and he wants her gone.

“What's your problem in general?” He snaps as he takes the water and gulps it down and extends it again for a refill. He's not very aware of his decisions tonight.

From his periphery, he thinks he sees you smirk, taking a bite out of the cherry in your drink, hiding it as much as you can. He can't tell why the action seems familiar, but it is. 

The bartender and you share a look as she takes the shorter whiskey glass and exchanges it with a tall glass of water, and leaves to attend to the other customers.

He thinks of starting a conversation, but he glances at you again and hides another frown. You were pretty, he thinks, and he hides a frown. The day I choose to wallow in my sadness. 

“I didn't know they let pretty people in here.” You speak again, addressing him directly as you drink from a straw. He notices the drink to be magenta, too similar to cranberry juice. She's not drinking, he notes.

He frowns at your comment, genuinely confused, for two reasons. Firstly, he looks like hell, he knows that. Eyes bagged into his sockets, his clothes unwashed for days. And secondly,

“How would you be here then?” He asks, his head tilted in confusion.

You're caught off guard, though he can't seem to figure out why. 

There's no hint of teasing, or amusement in his question, and it feels like a stab in the gut (in the best way possible) when you realise it,

“I can't figure out whether or not you're flirting or you just genuinely asked me that. And I don't know which would be better for my mental health.”

He's confused again, “How would my flirting affect your mental health?” He asks and he hears a laugh. 

Again, it's a nice sound and he hates it. He hates that it's nice.

“Oh, you're adorable.” You say, your hand reaching up to remove a piece of hair hanging over his eyes. He doesn't move away, he usually would, but his actions are a bit delayed and before he can register it, you're getting up and leaving.

He discovers he's disappointed, which surprises him. He hadn't spoken much to you, maybe that's why. Or maybe he liked nice, even in the midst of his self loathing spiral.

He's turning away to call to the bartender again, to bring him a glass of- who knows what. 

He might know all about alcohol, how they're made, their advantages, and disadvantages but he doesn't have much experience with many of them. Nor is he familiar with any of the names. What even is there in a Daiquiri?

But he feels that same dip in his space again, space time continuum, and he looks to see you there again, holding now what looks to just be an orange liquid in a martini glass.

“First cranberry, now orange. You do know you're in a bar?” He retorts with too much sass than he would usually, but he sensed you welcome the spar.

“What am I supposed to do? Take body shots off of you or drown myself in my own misery?” You say casually and it makes him want to laugh a little.

“Not off of me.” He mumbles, taking another sip of his lukewarm water, though he didn't complain. He can hear Morgan say, “Oh, you've got jokes now?”

“Too many germs?” He only nods and continues drinking his water when he jumps at a sudden loud sipping noise, he sees the orange liquid coming to an end in your glass as you sip loudly through the straw. 

He composes himself and answers properly, some semblance of manners peeking through,

“Not particularly off of me. Buy you shouldn't do that off of anybody. Did you know kissing is more sanitary than handshakes?”

He asks and you have that incredulous look again, followed by an amused one,

“I can't tell again. If you're just talking or flirting.”

He frowns, “No, well- I just told you something factual.” Another sip.

You laugh again and he leans in slightly, not consciously, trying to get closer to the sound. 

“You're a rare breed, Mr….” The sentence hangs as a question, you're asking his name. 

He's suddenly aware again of his surroundings. He's at an unknown place, and if he's a good profiler he knows this isn't an honest bar. Not that the neighborhood was known for its safety. 

He stays quiet but you quickly say, “That's alright. You don't tell me, I don't tell you.”

The bartender is back again, now pouring a yellow liquid into your martini glass and he must not have realised he was looking so intently because the bartender raises her eyebrows at him, as if asking if he wants some too. He nods, quite shyly, and brings his glass forward. 

He takes a sip, mango.

“But you shouldn't come in here with that gun so,” you gesture, “up front in here. You're an outsider, and you look like hell. No offense.”

He glances down at his holster and sees the gun, and thinks back to when Penelope had said,

“It's like they gave Bambi a gun. Said with love, of course.”

He knew it was said with love, but the feeling felt more pronounced as you gave your warnings.

“They don't like cops here?” he asks, fully aware he would never actually introduce himself as one, but he thought the title to be hidden enough for the place he was in. 

“So he reveals his profession, I wonder what’s next…” another exaggerated sip, this time he laughs, getting familiar with the strangers�� antics. 

He thinks back to why he's here in the first place as his conscious mind slowly comes back. Spencer had felt the urge again, he was angry at himself. Genius with an eidetic memory, and a few molecules of a  carbon compound take over him. He threw the vial on the couch, still too afraid to break the bottle, and stormed out of the house. It was as if he knew he should come here, the bar was not on his way to work, or on his usual roads. But he was still here, and he felt too comfortable for this to be his first time here. 

He retches over nothing and immediately sees a bucket being handed to him, and the feeling of mortification washes over him.

“I've been here before, haven't I?” He asks before retching into the bucket again, throwing up the mango juice he had just drank. More shame and guilt accompany his embarrassment but his head hurts too much for him to get up.

“It's good you chose the corner,” he only now registers your hand on his shoulder, rubbing circles to provide comfort, and it is comforting. 

“We've met before, yesterday?” he asks again, and she smiles.

“It's alright. It was a short visit. I only asked you your name and you well… you don't need to know. We went to the nearby park. I got you an uber home.” she laughs and this time he does say it,

“It's nice. Your laugh. You have a nice laugh.” his head is hung low, thinking over his circumstances. 

He didn't see your reaction, but he wasn't too eager to know anyway. 

You were pretty, he was too aware of that, he likes your laugh and the first two times you've met him, he was once too out of it, and the second time he threw up. Great. 

“I'm really sorry to inconvenience you, I didn't mean to bother you. I'm sorry-”

“No, no- thats alright. Its good to have some entertainment. I just feel bored here.”

This time he laughs, “Me throwing up is entertainment for you?”

“Tch. you really are bad at this  flirting thing.” Her lips curl into a smile, and he returns the gesture as much as he can. 

Spencer excuses himself to the washroom to clean up, and god it is not a sight to see.

He thinks back to your previous comment, didnt know they let pretty people in here.

They do let them in, but that wouldnt be a problem for him today. He washes his face, another wave of nausea passing through and he tries to think of things that would distract him.

Space time continuum, more commonly known as space-time, the mathematical model where three dimensions of space and one dimension of time fuse together to make a four dimensional model. Large masses, like earth bend space time, “gravity” is felt strongest when spacetime is curved the most. There's no force of gravity, matter tells spacetime how to curve, and curved space time leads matter to an end point. 

Two people could walk the same distance in parallel lines with no intention of ever seeing each other, to just follow a straight path, but the curved space time will cause their meet. It's inevitable. 

You sit cross legged, well- your ankle resting on the other thigh as you scribble away on a lone piece of paper, and Spencer recognises it as a crossword as he takes the seat next to you. You're not at the bar anymore, you've moved to a booth. He had come by to say good-bye, but he couldn't help but comment,

“adjudge, across 10 will be deem.” He says and for the first time, he sees a questionable look, you don't say anything and just hand the puzzle back to him and say,

“I'll time you.”

Spencer wasn't one to boast about his intelligence, but at the moment, he felt like the cockiest bastard in town. 

Halfway through the puzzle, his mind coming up with answers faster than he can write them, he hears a quiet ‘what the fuck’ being muttered right next to him and he chuckles. He pushes his pen down hard enough to make a sound against the wooden table as he finishes the last word and slides the paper to you.

The look on your face is laughable, so he does laugh, after god knows how long. 

You take the paper and check it over and after a few minutes you look over at him again and he's laughing again. 

“What the fuck?” you ask, but you don't give him time to answer through his giggles,”Dude, it's been like 7 minutes. that one took me 25 minutes.” You look back at the paper again, as if that would quest your curiosity, “and I thought I was fast.” You lean back, your mouth still open in surprise. 

“25 minutes isn't bad, pretty quick for this puzzle. Don't judge yourself by my standard, I have an eidetic memory. Sorry.” 

“No, no. Never be sorry for being too smart. Atleast you're not a dick about it.” You thank the bartender as she gives you yet another drink, this time it's pink. 

“I’d say what I just did was a dick move, I was flaunting.” He reasons as he observes your drink for a second,

“No, what you did was cool. As annoyed as I am about it.” You defend him, and take a look at your watch.

“People are usually just annoyed. I haven't been described as cool by many people,” he takes a pause, “actually by no one.” Spencer notices your actions and senses some suspicion, but he shakes it off. You must have ordered again when he wasn't paying attention.

“I'd beg to differ,” you take a sip of your drink and say, “I have more if you have time…” The end of the sentence was meant as a question and Spencer nodded his head. He has three weeks worth of personal time. All he has now is time. you rummage through your bag for more unfinished crossword puzzles. Most of them are 90% done, just two or three empty spaces. 

“Chemist lab equipment, 10 words. That's easy, you can do that.” He points out,

“I've tried!! I literally can't figure it out. The only clue I have is that there's an e in it. A vowel.”

“Think about it.” He pushes.

“I asked for your help.” You complain but he still doesn't relent,

“I am helping!” He snaps back but quickly says, “Alright, I'll give you a clue, it starts with a C.”

Your head tilts as you go into deep thought and Spencer suppresses a chuckle when he sees recognition pass over your face,

“Centrifuge?” You ask tentatively,

“YES!” He claps his hand and you both laugh again and this goes on for a while. 

You ask him answers to empty crossword clues and he gives you a few more hints to get it right. There were some that even he couldn't figure out quickly, which were met with teasing from your end. He welcomed it, he was used to friendly teasing, he worked with Morgan for god's sake. A significant amount of time must have passed because you glanced at the clock again and this time, the same cranberry drink was in your hands and he couldn't help but ask,

“Why are you drinking so many juices?”

“We’re in a bar, genius. You're the weird one who's not drinking.” 

“I was drinking. You stopped me.” You did stop him. And you didn't once ask him what was going on with him. No concerned questions, no I can help you. 

“No, you were drowning in your misery.” And as if you could read his mind, “And I don't think you'd appreciate alcohol addiction too.” 

Too. 

Spencer couldn't understand why you weren't telling him that he should stop, that what he's doing is wrong, why you weren't warning him or shaming him but you speak up again,

“I assume you came here for a reprieve. I don't need to know the specifics to figure it out. Though you shouldn't use alcohol for your reprieves. Not a good alternative.” 

You shake your head in mock disappointment, and take another exaggerated sip. Spencer notes that you do that whenever you're worried you won't get a response, as a way to fill the silence. Profiler.

“What do you suggest? Juice?” He asks, gesturing to your glass and you laugh again, and he again thinks it's nice. But this time he doesn't say it out loud.

“So, what other things are you annoyingly good at?” You ask and he lists out too many things in his head, things people tell him he's the expert at. He doesn't agree with them all the time, but there is one thing he knows he's good at. 

“Chess” He answers.

You chuckle, “Figures.” You think this is probably the fifth time he's missed the cue of flirting but then you rethink how this is probably how he flirts, or just talks. Genuine earnestness. No twisted words to mask his intentions and a strange warmth fills your chest.

Maybe a little company for a while everyday won't hurt.

“So, same time tomorrow?” You ask as you gather your things above the table and put them in your bag and he's startled by the question to answer it immediately. But he registers it and says,

“Uhh, for what? Chess?” 

“Yes. You're gonna teach me. Because right now, I have to go.” You say hurriedly and pat his cheek before leaving and he thinks of all the things he had to say 

I don't know if I'll be here tomorrow.

Where would we find a chess set?

What if he's too out of it to make it here?

What should he wear? 

He doesn't even know what time it was.

What's your name?

How would I find you?

Gravity, Spencer thinks.

All those questions are unanswered as you become impossible to find in the nearly empty bar, but he thinks

I'll ask later. 

Same time, tomorrow.

[followthebluebell]

Happy new year!!! I hope this year treats you well and that all the cats remain in good health with minimal trips to the vet!!!

For new years, I will refrain from asking about cat butts. Instead, i wanted to get some tips on cat play? I don't know if my cat's temperament is just lazy, but she used to dash around the house way more and any wand toy would have her skidding like the worst F1 racer. Now, she just flops and bats pathetically at it. That, or she watches us drag the toy around so it feels like I'm doing the workout, not her. She's not particularly food motivated either

Is there anything I can do to get her to move more? She's not obese or anything, but figured exercise is still good for her.

Thanks for always filling my feed with gatitos!! It always brightens my day!

Thank you! Roomba has been doing remarkably well lately, so my hope is that she continues to thrive! Which... is pretty good for a cat I swore was dying just a few weeks ago >>;; I guess I got a little panicky over a little bit of pancreatitis.

alright, so any cat who's suddenly lost interest in their usual activities should be seen by a vet, just to eliminate the possibility of some health problem, etc, etc. We all think of arthritis as an old age thing (and it can be), but it can affect cats of all ages, just like people.

Now that that's out of the way, take a look at the toys you've got on offer. Are they all pretty much the same design? It could be that she's just bored of the same thing and could use some variety. Even if all she likes are wand toys, there are a few variations. Like my cats absolutely lose their shit over worm-ona-string. Da Bird toy is pretty popular among my work cats. The only reason i don't have one at home is because Saia destroys them. Quickly.

The Cat Dancer is VERY traditional. I don't think the design has changed in like 40 years and that's because it doesn't need to. It's perfect.

At work, I'm more likely to use a toy like this one, tbh, because it's easier to direct in a smaller space.

For non-wand toys, plastic springs are beloved. Your cat also might appreciate a tunnel to play in, if you've got the room for one. And keeping a few catnip toys lying around can be a hit too; I recommend this toy banana or this toy carrot. They fall into that ideal 'small enough to carry, but also large enough to kick' range that keeps a lot of cats happy.

I know you didn't ask for toy reccs, but variety may be just the thing your cat needs for a little encouragement.

Good luck and happy new year!

[romantic-misty]

about this kind of posts... I finally have to say smth because I'm annoyed both ways:

(sorry OP, I don't wanna offend you - I wanna offend some sort of ppl)

you shouldn't tell people your (actually human's) basic needs, if you need to beg for bare minimum it's not your fault they don't show effort nor even ask anything because it doesn't cross their mind to do simplest things somehow, they're just egoistic non caring assholes and you repeating yourself won't help much

some ppl can't truly guess some stuff which means they also can not question you on the matter they have no idea about so sure! speak your mind - tell 'em what you like and hopefully they will understand and remember - nobody is a telepath and you should inform others about your thoughts from time to time instead of forcing them to always jump around you or else "they don't give a fuck about you" or smth as it's probably untrue

just because EVERYONE doesn't mean you also have to be like this - if someone is manipulating/forcing you to do things you don't wanna because it's "normal" - believe me, it's not and even if - you have a right to be "weird" so different

not everyone has to say YES forever to something, people have moods and change their mind, remember to explain or at least tell someone you aren't in the mood or changed your mind but also don't forget asking each other if someone is into smth at the current moment unless otherwise specified like "you always can hug me unless I tell you to stop" and such, mistakes and accidental crossing boundaries happen but most important thing are good intention and a lot of discussing, don't break someone's trust constantly proving it wasn't a one time thing

if you weren't assertive enough and someone took advantage of you - don't blame yourself for not saying NO (especially if they were constantly making you feel unsafe to actually stop them or brainwashed you into thinking you want this etc.) - they should check if you're fine with smth and not use the fact you froze and was unsure or didn't have time to set certain boundaries, topis should also continue after certain actions and you can go back to it anytime! no matter what others say - it's never too much for the right person <3

you doing something you hate or what even traumatises you to meet someone's needs because it's compromise... no, it's not - if you're not enough for someone doesn't mean smth is wrong with you - it's probably not a match and that is ok! you will be loved elsewhere by being yourself, if someone cares more about their needs than hurting you with them then they're not a good person (yes, it's mostly about sexual needs) - and no, cheating isn't a proof you didn't give them enough, they can always leave but they're cowards and want to have both :)

if you sh or have depression - don't assume no one gives a shit about you just because they don't question you when you say "I'm fine" - harsh truth - even tho I totally understand why you say that phrase still nobody has to do anything besides accepting it - they might feel like you don't wanna talk about it as it's either personal or you don't trust them enough and maybe just prefer to take your mind out of this as topic is triggering so they won't risk making you feel even worse, say the truth or tell them why you don't wanna talk about certain things because lying to people might make them truly believe you, they have their own issues too they can be occupied with, they can be simply tired and even feel hurt that you don't want to open up to them or show their respect in this way and let you have space - you don't know what's in their mind so if you assume smth about them then think how they feel when you decide to hide the truth from them - as I said, you still have reasons and maybe right to but it doesn't make them immediately evil for not doing more/what you want without you actually TELLING them, I know it's hard and scary and some don't even deserve to know but there are those who truly love you and will understand and will help/support you - you're not a burden! I am aware you don't wanna worry anyone but you can as it's part of being a friend/partner/family and if someone acts like an ass towards you by calling you an attention seeker - they are the problem, not you

silent treatment is manipulation and if you try to show you being offended by that instead of trying to talk things through first you are not good, sorry not sorry

balance is everything but ppl don't wanna meet half way EVER so...

your needs motherfucker do you speak them

[genderqueerdykes]

the post you just shared about being both a trans man and a dyke reminded me of something that ive been wanting to talk about for a while now but haven't been able to so far.

im brazilian. the country with one of the biggest pride parades in the world while also being in the highest rates of violence towards lgbt people. queer culture here is weird, and maybe i missed out on it because i was able to find refuge online among the english speaking community relatively early.

ive been observing something that i wrongly assumed was our own version of the butch/femme community, and for a second i got really excited bc we all know butch loneliness, but the more i started looking into it, the more of its completely rotten entrails they showed me.

it's a disfigurement of the ideas that i have held to my heart so dearly ever since i read stone butch blues for the first time, and even more as i discovered leslie feinberg, and found out that there really were others like me. they use the term "desfem" (as in "defeminized"), and the definition explicitly states that the individual must be a cis woman, quoting some terf-tier bullshit that would make joanne proud.

hating men is their entire personality, and it's so shallow and based on cishet gender roles that there is no "femme" counterpart, because they see no way to perform femininity outside of patriarchal roles. they want the aesthetics of butchness without the hardships of living as one. the trans community carries these people on their backs and still they're more worried about how some dykes are trans too.

i don't know where im going with this, i just need to get it off my chest to someone who would at least have an idea of what im talking about. it's so disheartening to see the community head towards this direction, and i grow less and less interested in forming bridges with cis people as time goes on lol

i wanted to thank you for taking the time to send it, i really appreciate these thoughts! i get contacted by a lot of brazilian people. i think that's super cool! i've heard that despite how large your queer scene is that it's still very queerphobic and that's unfortunate, but it does happen.

"hating men is their entire personality, and it's so shallow and based on cishet gender roles that there is no "femme" counterpart, because they see no way to perform femininity outside of patriarchal roles."

i really appreciate the way you said this! i've been trying to point this out for a while now and i'm glad you've come to this realization, yourself.

for whatever reason, cis lesbian, dyke and sapphic spaces are obsessed with the butch-femme binary. it's romanced to hell and back but it's very restrictive and patriarchal. implying that romantic relationships must fall into a masculine partner + feminine partner structure is cisheteromative. there's not much representation for butch4butch, butch4all, femme4femme and femme4all people. the idea that the masculine partner must be strong and protect the weak feminine partner that can't defend themselves is a patriarchal dynamic.

all of the lesbian yearning posts are about how butches are tops and doms and how all femmes are bottoms and subs. butch becomes synonymous with penis and femme becomes synonymous with vagina. calling butches 'chivalrous knights' dehumanizes them and reduces them to being protector figures. the way cis femmes online go on and on and on about how they "need" a butch is very alarming. femmes are being framed as dependent and as though they can't function unless they have a butch in their life, which is very misogynistic.

it's just a repeat of cishet- the patriarchal relationship formatting applies here, even if the genders are slightly tweaked. it's in the coding. it's literally a copy and paste job. it's lazy and toxic as hell and it leaves out all of the diversity that comes with lesbianism and how butches and femmes can experience life and love and sexuality in a variety of ways.

the thing is, as a genderqueer person, i've never understood why people are so attached to this binary. it's so restrictive. i'm butch, but not in the way that white cis lesbians define it. the way they tlel you how to be butch is so restrictive it's not even funny. it's like you gotta pass a test. you gotta be stereotypically masculine 100% of the time or else you're not a real butch. you're expected to emulate a cishet guy, but if you identify as a guy, all hell breaks loose. if you think about it people basically force butches to identify as men and then hold it at arm's reach away. like you have to act exactly like a man but be a Woman. and it makes no fucking sense.

lesbians are some of the most gender diverse people out there. it's crazy to me that people are trying to force lesbians, people who are known for being gender weird, into a male-female cishet binary but with a lesbian Womyn coat of paint. i wish you better luck in finding community that wants to stick together instead of fight over petty bullshit that doesn't matter. take care of yourself. feel free to stop by again any time

[angiethewitch]

things I did thinking I was being spiritual but it was actually a severe psychotic episode

to preface i am a pagan but let's be honest here this was straight up a mental health crisis

okay let's go

convinced myself there was a very angry poltergeist in my loft after I found out there was an old bed frame up there and it needed my help to move on but instead I threw salt up there and refused to let anyone walk underneath the loft opening

decided I had mastered the art of astral projection and I was travelling to astral planes and I could fly around the world while I was actually just lying there vividly hallucinating

straight up told people that my spiritual guides were gonna kill them like how did I expect them to do anything but laugh in my face

blood magic. like really dangerous stuff. thought I could bring my dead mother back to life by exchanging my life force for her own. hello?

vividly hallucinated my dead mother talking to me and fully believed she was a trapped spirit but nobody else could hear her and it was up to me to save her. all through her funeral she talked to me, she spoke to me for months. took me nearly a year to start dealing with her death and actually begin the grieving process

decided my husband was cursed and made him stand in the kitchen while I walked in a circle around him boiling herbs. poor bloke has dealt with so much

became convinced if I could just cast the right glamour spell at the right time I could breathe underwater and tested this out in the ocean like a very normal and sane individual

thought the wind was actually terrible forces speaking to me and delivering messages just for me so I became terrified of wind because I would have to sit outside and decipher the words that were clearly just for me

sewed a load of crystals onto a t shirt to protect myself from bad energies and called myself "the high priestess" and got very upset when people couldn't understand my power

understood that my cat was not actually a cat and was in fact the spirit of a 2500 year old druid priest sent to guide me in the form of a cat. Still called him Jinx though

started a journal where I detailed all the signs that the end of the world was coming

Read online that the colour red means angry so I desperately avoided the colour red because that meant the world was angry with me

tried to summon satan to terrorise my neighbour who was mean to me and fully believed it would work

decided I was immortal and imbued with the powers of ancient gods which led to some very risky and dangerous situations which I will obviously not detail here

there are many more examples but these are the most ridiculous ones

if you followed me for the witchcraft posts, im sorry. ive had to take a step back from it all for the sake of my own mental wellbeing. spirituality is a huge trigger for me. I tried practicing in moderation, I tried practicing just a little, but it is too much now. I had to unfollow a lot of witchcraft blogs because 1) they all seemed to collectively devolve into conspiracy theories and 2) i had to remove myself from the online witchcraft space. if you were wondering why I don't post about witchcraft anymore, this is why. I barely practice anymore, and when I do, I keep it private so im not encouraged by online validation.

please practice safely. always consider the mundane explanations first.

[outromoony]

Thank you for sharing your perspective. It's definitely a nuanced discussion. I agree that fanfiction can sometimes take characters in directions far removed from canon, and it’s important to acknowledge that canon and fanon are separate entities.

However, I think where we might diverge is in how fanfiction should be approached. For many, fanfiction is a way to explore, reinterpret, or expand upon characters and worlds in ways that resonate personally. Yes, some fanfiction creates "OCs with canon names," but that's part of its beauty. Fanworks allow readers and writers to take ownership of stories and make them meaningful in unique ways. That doesn’t inherently devalue the canon; it just shows how transformative fandom can be.

I get the frustration when people treat fanfiction, like ATYD, as if it’s canon. And honestly, I think that’s where some of this backlash comes from—people are mad that others adopt fanon interpretations so completely that it starts to overshadow canon. But isn’t that also a testament to how much these works resonate with fans? It might not be canon, but it’s meaningful to many, and that deserves respect too.

That said, it’s completely valid if you don’t agree with these interpretations. If you see the Marauders as bad people or think canon should be respected above all, that’s okay! For me, there are plenty of fanon takes I don’t personally agree with either, but this is just how some people enjoy fandom. I often post about things I don't agree with or interpretations of characters I don't resonate with. Some people agree with me, while others don't. You don’t agree. You don’t like it. That’s fine, so do many others! That’s why it’s important to find or create a community that shares your views and approach to fandom. There’s space for all interpretations if we’re willing to respect each other’s preferences.

At the end of the day, fandom should be a space for creativity, connection, and respect. It’s fine to critique and discuss, but that should come with an understanding of the effort and love people pour into their works, whether or not they align closely with your personal preferences or canon.

(Just wanted to leave this out here because I want to make it clear that even if I sometimes talk about my own opinions on ships, characters, headcanons, etc., I respect that others might see things differently. Fandom is about enjoying what you love in your own way, and there's space for all of us.)

I hate seeing people (especially on Twitter) constantly hating on ATYD as if it were a published book and not a fanfiction someone wrote entirely for free, spending months creating it just for our enjoyment. Calling it the 'downfall of our fandom' and so much other nonsense is ridiculous. If you don’t like a fanfic, that’s fine, but coming online to constantly hate on it is honestly disgusting. Have some fandom etiquette. These are the kinds of things that are ruining fandom and the reason so many writers stop writing.

[magnoliapromenadegalleria]

I take no issue with monetizing cc. You release good content and have an agreeable release window, I either choose to subscribe, or I wait. Cool. What I do take issue with is this

Perma-paywalls or ridiculous early access release windows. Anything exceeding thirty days is excessive. My opinion.

2. New creators setting up immediate early access. The skillset is just not there yet to put a price on your creations. You barely have a base to sell to. This includes creators who created for other games, then come over to The Sims and try to sell to us. For example, the creator that makes skins and admitted they don't even play the game. Simply here for profit.

3. Creators that do not qc their work, or steal from other creators. Girl.

4. Customer service. Once you start creating for profit, whether it be supplemental or your main source, you have to have a level of customer service and professionalism. You have now started a brand. A very niche brand, but that's what it is. You cannot be short with people for asking valid questions and catching an attitude with them. Like that one lady with the tree coming out in February. If you are one of those rare creators who is lucky enough money to hire someone to handle your social media, I suggest you do that. Or supply a friend with more patience with their favorite coffee or something and let them handle it. Something.

5. Not interacting with the community you are trying to sell to. Connect with people. Repost their edits, lookbooks, builds, leave comments, give a like. The creator mentioned above commented that no one comments on their stuff, at least not here. Fair. This community does not talk like it used to, but to each other like it used to, but you can go to creator pages and see that they are perfectly curated advertisements. Like a showroom. No reblogs of anyone using their content. If you want that for your main page fine, but at least have another side blog where you can do the outlined above.

6. Pushing something out just to push it. I think we have entered a space, both creator and follower/consumer, where everything feels so fast-paced. What's the new thing coming out, what's next, etc. So much so that I think it has made creators push out content just to keep up, especially if they rely on that income. This has resulted in some creators getting into hot water for releasing the same item(s) in different sets and in different colors. Or creators releasing duplicates of the same thing. It can be frustrating, but I question if it is because they're just trying to keep up, or afraid to try something new or different in fear of it not doing well. Some smaller creators who create different content don't get as much love and I question if they would receive more if they followed the wave, or were big enough to start one.

Now to this community

If a creator disrespects you or others or moves in a way that you don't fundamentally agree with, and you complain but still download and or advertise their content, you're moving counterproductive to your plight. Why would anyone reflect on themselves when you prove that you're going to advertise their content anyway?

2. Show love to these creators. Big and small, especially small, monetized or not. Everyone likes to hear or see that what they release is valued. Don't harass or disrespect creators if they take a break, or they don't get something out quickly. Especially the modders.

3. Interact with each other. Even if your aesthetics or different. This is a community. If you see something you like, LIKE IT. Share it, leave a comment.

4. Create the thing simmer. The edit, cc, build, lookbook, whatever. Create the thing and share the thing. Even if it isn't part of a popular trend or aesthetic.

I'm speaking about myself here too because I want to better about this.

I want this to feel fun again. Not just based on what is in at the moment.

This might be read. Might not. Just my two Abes. Anyway I'm about to make some soup from scratch. Toodles!

[whoops-all-jennas]

Look Who's Inside Again - j.o.

Jenna Ortega x fem!reader

"Try making faces, try telling jokes making little sounds."

Summary: This is your first time playing a major role in a movie and it's intimidating. Jenna comforts you after you hide away in your trailer.

a/n: y/f/m means your favorite media. movie, book, anime, video game, whatever.

The muted sound of everyone talking fills my ears as I zone out. The first few days on set are being used to get the cast adjusted to each other. I've never had such a major role before in a big movie, to say I'm nervous is an understatement.

I already have trouble talking to people normally, how am I supposed to talk to celebrities? Especially when they're the ones approaching me. Shouldn't it be the other way around?

"Y/n?" A voice enters my head, my head perking up at the mention of my name. I meet my eyes to Jenna's. "Are you okay?"

"I uh, yeah I'm doing good." I force a smile before looking to the side, avoiding her gaze. I have never felt more parasocial in my life. How am I supposed to hold a conversation with these people, especially Jenna, when I feel like I already know too much about them and they know nothing about me.

The main cast consists of four people. Jenna Ortega, Finn Wolfhard, Wyatt Oleff, and I. It's one of those horror movies where it's a group of teenagers investigating something where they should die because of it, but we all know they won't because it's a movie.

"So are you excited? This is your first major role right?" I turn towards the voice to meet Finn. "This could be a big debut for you."

"Yeah I'm excited." I grab my arm, holding myself and taking up as little space as possible. "I'm mostly nervous though, a lot can happen."

I feel Jenna's gaze on me, so I turn to look at her to find a look of curiosity in her eyes. "It can be intimidating, but you can do it. I believe in you." Jenna's genuine smile meets my uncertain face.

Jenna saying 'I believe in you' repeats in my head like a metronome. This somehow makes me feel more nervous and also safer at the same time.

I just don't want to embarrass myself in front of these people, especially Jenna.

It seems the conversation continued while I was in my head. Everyone's eyes were on me expectingly. Did they ask me something?

"Sorry, what'd you guys say?" I ask, Finn and Wyatt look at each for a moment with a face that I can't tell is annoyance or uncertainty. "It wasn't important." Wyatt states.

That feeling of safety is now gone, my heart beating at a thousand miles an hour.

Was it important?

I feel my legs start to shake from the nerves, as if I could fall at the slightest inconvenience.

The nervousness replaced with anxiety and uncontrollable thoughts. 'Did I already blow it before I did a single scene? Does everyone think I'm annoying? That I'm distant?'

I find Jenna's worried gaze on me yet again, causing me to look at the ground for a moment before trying to keep eye contact with the main cast and failing. "I'll be back."

I quickly find myself walking to my assigned trailer, my pace faster than usual. When I finally find myself inside, I close the door pushing my back against it before sliding down. I sit there with my knees to my chest and head in my arms wrapped around my legs.

I already decorated my trailer to procrastinate on meeting the others. I tried my best to make it feel like home, bringing posters and collectibles from different pieces of media I enjoy. The blinds are closed, blocking the light sure, but also separating the trailer from the set.

Luckily, I also brought some string lights to hang across the ceiling. I don't know if I could handle the harsh florescent lights my entire time here.

I take a moment to try to take control of my breathing, doing the breathing exercises I've been instructed since I was little.

I'm interrupted with knocking on the door I'm leaning on. I stand to open the door to find Jenna Ortega on the other side. I still can't believe I'm seeing her in person and on talking terms.

Well, if I ever actually try to talk to her that is.

"Hey, I just wanted to check on you. It seemed like something was wrong." Her worried yet genuine glance meets mine.

"I'm- I don't know." I cut myself off to stop myself from lying, biting my bottom lip.

Jenna looks past me for a moment. "Can I come in?"

I nod, opening the door more and taking a step back. Jenna walks past me, she's wearing this nice perfume that fills the scentless trailer.

She looks around, admiring the decorations. "I like the string lights, I can't handle the florescent lights they use in these."

I close the door before approaching the built in couch. "Thanks, I actually wasn't aware of them until I got here. Luckily, I brought them from home by chance."

Jenna turns, taking the seat next to me. "Do you wanna talk about what's wrong? I understand if you don't want to."

"I-"

I cut myself off again, unsure what to say. "I don't know."

My heart is still beating to the bpm of flight of the bumblebee.

Jenna gives me a genuine smile, trying to make me feel comfortable, before glancing around the room again. Her eyes linger on the merchandise of different medias.

"How about we talk about media we like?" Her genuine gaze meeting mine. "I'll start, I really like Breaking Bad. It's kinda a guilty pleasure of mine."

My eyes slightly light up.

"I also really like Breaking Bad." I say, trying to reflect her genuineness. "I really like the character development and how much they change throughout the story."

Jenna scots a little closer. "I know right?! it's so good!" She seems so interested in the conversation.

She looks into my eyes with a smile. "Now it's your turn."

I look around the room for a moment, unsure what I should say. For a lot of my life I was told I can get annoying when I delve into my interests. It's like whenever I start talking about it I can't stop.

I don't want her to think I'm annoying, but I also don't want to tear down all the work she did to try to get me comfortable.

"I really like y/f/m, I just love the universe that they made so much and the characters." I start speaking, pausing for a moment to read Jenna's expression.

She is smiling and has this look in her eyes, like a genuine interest in what I'm talking about. My eyes feel like an open door as she looks into them.

"You can keep talking, I was listening." Her smile somehow becomes more genuine, causing a smile to creep up on my face.

For the past few minutes Jenna let me ramble about y/f/m. I soon realize I've likely been rambling for way too long "I'm sorry, I didn't realize how long I was talking." My smile fades, turning to embarrassment in an instant.

"What, no it's okay." She puts a hand on my knee comfortingly. "I was interested in what you were talking about."

I look at her eyes, her genuine eyes complimented with her genuine smile.

She is just so genuine.

"Are you sure I'm not being annoying?" I ask, insecurity laced in my voice.

She nods to me, her smile fills my heart.

I'll never get over the way she looks at me. As if she's actually interested in the conversation, interested in who I am.

I find myself looking down to the couch cushion, hiding my face. Soft gentle sobs start to escape my body, my shoulders slightly shaking.

"Hey, what's wrong?" Jenna scots closer, her hand gently grabbing my unstable shoulders.

I sniffle before getting my head up, revealing my glossy eyes and a few tears. My head feels like a boulder, trying to keep it lifted on top of my shoulders.

I shake my head with a smile. "It's stupid."

"There isn't a stupid reason to cry." Jenna says comfortingly, rubbing my shoulder with her thumb as she rests her hand there.

I look away again for a moment before meeting Jenna's gentle eyes. I open my mouth, no sound coming out as I try to decide my words before I speak. "It's just you're so nice. Most people either just let me speak, but are clearly disinterested or just flat out call me annoying."

Jenna's eyes are laced with empathy as she looks into my eyes like windows.

I sniffle before speaking again, fanning my face for moment. "And you just seem so interested and intrigued in what I'm talking about, and it just means so much and- I don't know."

She continues to rub my arm. There was a moment of silence, the only noise being my soft sobs until Jenna spoke. "I loved seeing the excitement and passion you have about y/f/m. You should talk to me more about it some time." She says with a smile.

I nod. "Yeah, I'd like that." A sniffle interrupts the middle of my sentence.

"I should probably try to calm down, I don't really want to go back outside looking like this." I motion my hands over my face, addressing my puffy eyes and tear streaked face.

Jenna breaks eye contact for a moment, finding the tv before meeting my gaze again. "How about we watch something?"

I nod, she stands and quickly finds the remote. "Before we start watching something, do you need a hug? You're allowed to say no."

I love how considerate she is.

I nod, standing up. She holds her arms out, inviting me into her arms. I put my arms around her lower back and she wraps hers around my upper back, one hand resting on the back of my head playing with my hair comfortingly. She holds me in her warm, gentle embrace for a moment before letting go.

She meets my face with a smile. "Feel better?"

I quickly nod with a smile on my face, happiness in my eyes.

"Do you have any comfort movies?" Jenna asks, finding her seat back on the couch.

I find my seat next to her. "I really like Studio Ghibli movies."

Jenna points the remote to the TV. "How about Spirited Away?"

"That sounds good to me." I say with a nod, looking at her one more time with a smile before we start the movie.

a/n: hii guys, hope you enjoyed my first Jenna fic. this was inspired by the tiktoks I've seen about the way Jenna looks at people. maybe if you guys behave you'll get a Jenna fic that has actual romance in it next.

[evangelineenjoysdaisuke]

WHO TFK IS THIS GUY?

Daisuke x F!reader

Warning: language, eventual smut, jimmy and everything that comes with him (lol). y/n smokes weed!!

a/n: y/n is a therapist on the tulpar! (not my original idea, @/-Mairibby on wattpad) the fic series wont be mainly about y/n and daisuke, its more about everyone, but daisuke and y/n get together eventually, yk? things may or may not go on plot due to me not giving a fuck lol. remember that this is from y/n's point of view, so not everything she says or thinks will be correct. but this fic is mostly getting familiar with the dynamics between y/n and the others, enjoy! ALL OF MY CONTENT IS FOR ALL READERS. PERIOD. EVERYONE IS SAFE HERE!

PT 1.

You were afraid of heights and elevators…so what the fuck are you doing in space? You questioned, looking at yourself in the restroom, and looking down at your scratchy material uniform…pony express…yay. Only a year left, bigger yay.

You were the only girl aside from anya on the ship, which didn't bother you much. You were known for keeping things positive and whomever you had a conversation with, it would always end in a laugh. So you went on ship as a newly licensed therapist. After graduating college, you'd come across a flyer stuck on a light post with a cute pony on it. You said hm, then in a week, you started your new job.

You didn't know any of these people, really. Curly, the captain, Jimmy, sketchy dark guy..usually your type, but co-captain. Anya, the nurse, Swansea, the mechanic, and daisuke, the idiot intern. Things are going smoothly, the food wasn't your favorite but there wasn't anything salt and pepper can't fix (god, you wish you had cajun seasoning. You made a mental note to bring some next time) you managed to smuggle your weed pen and a zip, knowing in order to be the best therapist you can be you have to be the least stressed. You hid it under your pillow, they make comments about the smell and know someones carrying it between all of you, but can't find it. They point fingers at daisuke, but don't attack him since they cant confirm it.

If anyone needed to be attacked, it was Jimmy, the nasty cigs that laid between his lips as you all sat around the table playing card games or just simply talking, the smell was louder than Swansea playing a game of poker. You didn't know why you paid so much attention to him, his aura was alluring. You liked how dirty he looked, like he has no shame. But there was just something….off. Like he isn't fit to be co-captain, but he never gave you a reason or showed why he shouldn't be.

Conversations with curly were light, conversations with him were easy. He's a good man, takes responsibility. You make sure to let him know. Only lord knows what would happen if he started doubting himself, and no one wants to even take the risk.

You sigh and collect yourself, take a long hit of your weed pen and walk to the lounge. Picking up the clipboard to do evaluations. You and Anya switched off time and time. She discussed with you that she felt like she was here for no reason with nothing to do, she wanted to feel needed and like she was part of the crew. It didn't matter to you, though. Not like she gets part of your cut.

Looking around and seeing everyone, you'd wonder who would be your first victim. They all equally hated the evals, only being cooperative because Cap says so. You wince your eyes and see who's less busy. The side of your lips turn up and you look at swansea. You walk towards him, and it's almost as if you're his 6th sense, you can see how disinterested he is and it was really obvious when he rolled his eyes and crossed his arms. It made you laugh.

“When are you going to register in your head that I am too old to be going crazy on a ship, y/n. These aren't-” “necessary, i heard you the first time..and all the other times. But protocol is protocol, relax, okay?” you sat in front of him on the couch and he lifted his head to look at you. “Have you been able to complete your mandated tasks as a mechanic efficiently and to your fullest capacity?” your eyes lifted from the clipboard. “The ship hasn't broken down has-” “swansea” you cut him off and sharpen your eyes. “Do you need me to-” “yeah yeah- i got it. Yes i have” you chuckle at his response and drop your clipboard in your lap. “You know that you make this 10 times harder and longer? Or do you just like giving me a hard time?”

“Honestly both, I try to get as many minutes away from daisuke. He makes the vein in my forehead pop out” you laugh at that and point at him with your black pen, “now we're getting somewhere” you cross your legs and continue the eval until it's over. Swansea reminded you of a bitter grandpa but secretly wants to see you succeed. You see how he cares for daisuke, even when he cusses him out. He cares enough to cuss him out. It's something to admire from afar.

Daisuke and swansea were the best duo in here. Curly and jimmy were kinda boring considering it was the grumpy x sunshine trope. You just wondered how jimmy had so much…power. Though he was co-captain, whenever he had a conversation with anyone, it's almost as if they just let him do what he wants to without consequence, like he's a toddler. You see how Anya instantly lowers her head and just submits to him, but you haven't asked or said anything, not only because it's not your place, but also since Anya just doesn't really talk to you.

You took note of how you've caught her watching from afar. You didn't wanna label her as envious, she was just shy, while you laughed and fit right in. you didnt want to feel bad for anya, it's not what she deserves. You'd wish she'd just put herself out there more and know that she's safe with you, and you wanted a bond with her- absolutely, but there was some kind of tension that you just couldn't grasp on.

She also had a conversation with you about how she didn't feel comfortable doing evaluations with jimmy. She told you about the disturbing comments he makes, and asked if he told you them to. He did. But most of the time you're too high to even pay attention to what he's talking about and end up just labeling good on all of them. Anya ended up furrowing her eyebrows and just walking away, you watched as she did so, she covered her face and her posture lowered. She cried.

“Daisuke! Eval. Are you ready?” you smiled and walked into the sleeping quarters. “Ah!” he exclaimed, fixing his pillow before fluffing his hair and standing up with an awkward smile on his face. “Uh..yeah sure” he said. You smiled and lifted your eyebrows “i thought i was the only one hiding things on this ship” “you are” “ha, ha” you tilted your head, “we can sit on my bed and do it, if you wanna” he offers, you let out a hum and say okay before sitting on the bed, your knees touching but you didn't put too much mind into it.

You dropped the clipboard on the side of the bed and he furrowed his eyebrows and gave you a puzzled look. “Aren't you gonna ask me questions?” “I'm starting to feel like it's just not needed. Not saying your not important or anything, but you are an intern. What tasks do you really have?” you let out a laugh, but looking at daisuke, he didn't like your answer. It was actually very clear he took offense to it. You bit your lower lip and crossed your legs, no longer touching knees with him. You clear your throat and widen your eyes for a split second before raising the clipboard. “Have you been able to do your mandated tasks as intern?” an awkward wide smile on your lips. “And what mandated tasks do i have?” he said. Petty. You thought, you let out a breath, “im sorry, daisuke. I apologize, I didn't mean it like that. Please forgive me”

“Show me what you're hiding,” he said, out of the blue. You give him a puzzled look. “How is that an even trade? I made a comment. We get outta here in a year, you'll lose track of time and forget it in 3 days. What I'm hiding can get me in trouble for the rest of my life ""do i look like a snitch to you?” he crossed his arms, you laughed, “Fine”. To that he smiled, you stood and went to your spot, lifting the pillow and revealing the goods.

He bit his lip and looked at you before squinting his eyes. “So you really fucking hate me, huh?” you cock your head back at his comment, confused you look at him, silently signalling for him to elaborate. “First you say I'm useless here, and now I found out that you're the one carrying the weed on the tulpar and they've been saying slick stuff to me. Wow, y/n. You're an asshole” he laughs. “Shit..fuck, youre right. Im sorry” you felt like a complete bully and an idiot, you put your palm on your face to hide your embarrassment. He shook his head, “you at least gonna share? The least you could do” he let out a small laugh, in an instinct you pulled out your pen and gave it to him, avoiding eye contact. “How does this even work?” he asked, holding it up and scanning it.

“You're joking…rich kid, I imagine you have all the friends in the world and have parties, and possibly have done something worse than this” he glared at your sentence, but you scooted closer to him and held the hand that was sticking up the pen. It was pink and bedazzled, “see this button right here? Press it while you suck- or breathe in whatever from here” you said, before looking back at him. He nodded his head and bit his lip, you let go and allowed him to take a hit from the pen. He awkwardly pulls it up to his lips, you watched as he wrapped his lips around it, silently cursing to himself in regret, not because he was taking a hit, but because he wrapped his lips on it not around it. The wetness from his mouth from the lord knows where is now on your pen that you will continue to hit. Not that you minded, his lips were soft and pink, he carried around a coca-cola flavored chapstick and used it, mostly when he was nervous.

You cocked your head to the side and watched him take the hit. “Dont kill yourself” you laugh, pulling it slowly from his lips. He immediately coughs, and you groan to see the wasted hybrid smoke enter the air, you sigh and wave so it disappears. “You gotta work on that” you mutter as he dies, falling over onto your pallet and banging the floor, his mouth open as he coughs. You laugh and pat his back, trying to help him out. He collects himself, “what the hell is going on?” curly asks, stepping in, your eyes widen and you cover the stash with the pillow before turning back to the captain.

“Choking on his spit, ha, you know how daisuke is” you do an innocent smile and he squints his eyes looking at daisuke. He only raises a thumb and scratches the back of his head. “Swansea said he wants to show you how to fix the vent, and if you make him wait any longer he's gonna ignore you for a month straight” “that's my cue, see you y/n. And I forgive you” he smiles and stands, walking past curly.

Curly eyes you, “done jimmy yet?”. “Don't think I want to, maybe you should?” “Of course” you smile at his acceptance, and hand him the clipboard as he walks to you. “Thank you cap, you're the best” you say with a genuine smile, he only smiles back before walking away. Everyone was doing their only thing so you decided to lay off and keep your pen and your copy of “Interview With The Vampire” by Anne Rice from some company.

[mymarifae]

these two are linked in some way. 100%. i'm hesitant to add mem to the theory board because idk if they'll be related to march too or just cyrene (being an entity that sort of embodies cyrene's... essence? like ELF elysia in hi3) but the similarities they have with Both are too big to ignore completely

unsure if they're about to go the route of cyrene and march being the same person or if march is simply like... a fragment of cyrene that was sealed and sent away to maybe give her a chance to live on since this girl is doomed to die in virtually every universe and iteration. amphoreus's time and space displacement is fucked up and it seems like we're going to be spending a lot of the adventure split across concepts of "past," "present," and "future." so that mayyyyy be why we were able to see cyrene interacting with and talking to stelle in the nameless faces video, if she's no longer "whole"/dead/...whatever.

she does appear to be emerging from a place of... non... physicality. also it's worth noting that in the first picture of her i included, she's sinking - into water or a water-like substance. that can presumably freeze over...... and become the ice block himeko and welt found march 7th in....... hm? 🤨

it's hard to say how much cyrene will have in common with elysia - it's unfair to expect them to be the exact same character, and maybe these points i'm about to bring up mean little in the end because we don't know for sure where the story is going to go, but

elysia was "born from nothing" which doesn't quite have the same connotations as march 7th's "birth" but you know. they both found themselves in a sudden state of existence with next to nothing to fall back on and they defined themselves

elysia is not humble about her beauty and speaks often of it (as she should; she is very pretty). similarly, march frequently boasts about her cuteness and describes herself as the cutest girl in the world (as she should; she is very cute)

"never forget your roots" is one of the mantras elysia lives by. this stands out to me because despite not... really needing those memories, march is pretty insistent on remembering her past. the lesson that the garden of remembrance and just the universe and her adventures in general have tried to teach her ("your present defines you; so long as you're happy here, you don't need the memories of your past, and retrieving them might destroy what you've come to love now") just doesn't appear to be sinking in. perhaps because she subconsciously has a core belief stating the opposite

as for how mem would fit into this i have nothing for you because we don't have anywhere near enough info on them for me to begin thinking about that. but it seems like they'll be a pretty big deal.

like i'm spitballing more than anything here. if march IS a fragment of cyrene i think it's also obvious that she has grown into her own, entirely separate person and her origins are inconsequential - though she might not think that if/when she learns this about herself. that might also offer an explanation for why the garden of remembrance won't let her have any part of her old memories, not even a hint. because learning that she's technically a piece of someone else might be too heavy a blow to her sense of identity and she'll be entirely too focused on all the wrong things. uncovering her past will slow her down at the most inopportune moment... make her vulnerable in all the worst ways. which might be why she appears so absent from the adventure.

it's also possible that like. all three of these guys - march, cyrene, and mem - are fragments of a titan (don't ask me which). or that march was given cyrene's coreflame (don't ask me which) before being catapulted into space. or march was the previous owner of the coreflame cyrene has now - if they can be passed on to other people - before being catapulted into space. or i mean, the coreflame cyrene HAD because i'm not convinced this girl's fully alive and well. mem IS the coreflame, brought to life/imparted with cyrene's memories and will.

do you see... there's just so very much to think about... looooots of story spoilers got thrown at us if we can just... untangle the mess... can anyone HEAR me

[alpaca-clouds]

Why do people struggle so much with understanding pacing?

Okay, let me talk about my pet peeve when it comes to writing in any medium. Pacing.

People, who know me for long, will know that this has been the thing I have been complaining about since I was like 12. And there is a good reason for it.

See, when I learned to write, there was this guy who I greatly admired as an author. And after bugging him for a while (look folks, the internet was a very different place from what it is now) he did give me some recommendations on books on writing. And a lot of them went deeply into his pet peeve, which - you guessed it - was pacing as well.

And thus, I learned early on about story structure, and pacing, and how to pace out a story in a way grips the audience. This material I read went onto different techniques for different mediums, into how different cultures had a different ways of dealing with this, and so on, and so forth.

Some of my main take aways were, that a lot of very long stories struggled massively with pacing, and that a ton of people also very miscalculated their ability to handle characters in terms of pacing - because characters and pacing are two things that are very, very heavily connected.

I also learned something else, though: That a lot of western writing advice did not understand anything about pacing outside of the idea that stories were supposed to have three acts - or maybe five - and ideally from a certain fateful day in the early 2000s on, would follow the "save the cat" formular. (Mind you, I do not hate "Save the Cat", however, this formular has been created for movies. It works at times somewhat well for books, too. But it definitely does not for for pretty much anything serialized, because that is not what it was developed for.)

And I also learned another thing: Most people do not understand pacing either, because pacing is not a thing that is ever taught in normal school (like most things that are about creative writing are not). So, while some people might have a gut feeling that the pacing of something might be off, they rarely can actually say why. And this is only worsened by the fact that today's tiktok addicted society is so used to consuming ultra condensed media, that they will perceive anything less condenses than 1 minute tiktok videos as "too slow and boring".

So, please allow me - the guy who kinda hyperfixated on this specific writing skill - to talk about pacing. And this will be in the following points:

What is pacing actually?

How do characters relate to pacing?

Pacing, Streaming and the supposed "filler episode".

Pacing and Fantasy

Pacing in Action vs anything else

Pacing in books vs visual media

What Is Pacing actually?

Okay, I think one of the main issues when it comes to understanding pacing is, that a lot of people see pacing on a on a spectrum that goes from "I am bored" to "I can't follow the plot anymore". But that actually does not always have to do with the pacing - obviously.

Technically pacing is the speed in which the plot moves. Or, to make it more quantifiable: "How many plot points (beats) are covered per either time (in any timed medium) or per page (in anything you read)". Which makes sense at the first glance - but does actually often not line up with the subjective perception of this. Becau se here is the thing: No, fight scenes are not automatically fast paces. A lot of modern action movies have super slow paced - in terms of story pacing - action scenes. Because yes, during those action sequences a lot of STUFF happens, but nothing of it actually is in any way related to the plot.

Look, I freaking adore the Fast & Furious movies. But you could literally edit those movies down to like 45 minutes each and not lose a single plot beat. But of course, nobody would watch those movies - because yes, me and everyone else who adored those movies, is there to watch them lunch cars into space and see stuff blow up. I don't much care about the characters or the plot.

This is by the way also the kinda point that me and other people talk about, when we are unimpressed by "oh, but sex scenes don't add anything to the plot", while the same people would often not make the same argument about action scenes - even though there is a ton of movies and shows where the action scenes really do not add anything to the plot. A lot of people just do not perceive action sequences as slow pacing, because even if nothing that happens on the screen actually adds anything to the plot or moves it forward, it is undeniable, that STUFF is happening. So basically monkey brain will go: "Hehe, things go boom!"

Don't get me wrong: there absolutely are stories in which the action is moving the plot. Mad Max Fury Road is a great example. The movie is also about 60% action - but the action scenes actually add to the plot.

Meanwhile nothing tells you as much about how unimportant some of the MCU action scenes are, than the fact, that they are often done by a completely different team and will be done apart from the rest of the movie.

But yes, traditionally the idea was, that towards the "finale" of a piece of media, a lot more plot beats would happen over a shorter amount of time. You will see that also in a lot of beat sheets. There are more beats that need to happen in the third act of a story - if we go by three act structure. And often there is actually even more plot developments, as usually in a finale all the "plotlines" will kinda finish up in the end. So even plotlines where not a lot has happened to this point - this shows especially in serialized works both in TV shows and stuff like manga or comics - the important plot points will then often happen close to the finale, because it feels more "right".

In older serialized media - especially TV shows prior to streaming - you also had the same thing hold true towards the finale of a "story arc". In a lot of older shows, you would usually see a structure that looked like this.

The "rise" here technically has less to do with more stuff happening in later arcs or seasons - and more with the threat-level rising, and the convulutedness of a story. lol

But yeah, the take-away from this part should be: No, action does not equal fast pacing. There can be action-heavy shows with super slow narrative pacing - but it will to many not feel this way, because at least action is interesting to watch. Which also might be an explanation to why people are a lot worse in seeing the issue with action-scenes that are not adding anything in visual media, but might actually notice it in written stories. Because in books action scenes do not feel "fast paced" in the same way they feel in movies, where the often faster editing and the amount of motion on screen will create this effect.

Oh, and on the other side: Of course there can be slow paced plots that will leave you having problems following. At times, because they are badly written (aka: the media does not give you all the information you need) - and at times, because a piece of media might expect you to know a certain bit of information that you do not know. I can definitely think of a variety of scifi media, that just expects you to know stuff about computer stuff or space, and will not explain it to you. Which might make you need longer time to take plot developments in, and then leaves you reeling.

Another thing however that is also important is: If the pacing stays actually the same throughout a piece of media - rather than accelarating towards the finale (or finales if there are multiple) - it actually will feel wrong in some way. Often people (even I, who hyperfixates on this specific thing) struggle to point at it at first. But yes, this very much is an issue that also can happen. You want the pacing to accelerate towards certain points in the plot - and then slow down. If you had an important point, you want a few slower scenes/episodes/chapters afterwards, to allow the audience to somewhat absorb all the new things you presented them with.

How do characters relate to pacing?

Alright, now we come to the dicey part - specifically, because a lot of people (which includes narratologists, creative writing professors, and people professionally writing) actually kinda do not fully agree on this. So, fair warning: This is how I think.

A character arc in many cases absolutely is a part of the plot. Most media we consume these days are character driven, so the characters are absolutely centrally connected to the plot and the plot mainly exists to have the character move from point A to point B. Or, to make it more basic: To have a character realize that their WANT is not their NEED.

Sure, those characters will usually also accomplish something plot-related. But them accomplishing them is more often than not heavily connected to them fulfilling their character arc. (Please note: characters having a want but having to realize a need is something that is core of western storytelling. However, given that it makes for interesting character arcs, a lot of Asian media these days also will use this as a central driver for character development.)

In some pieces of media, the character arcs are way more heavily tied into the beats of the main plot, than in other. In adventure, action, and related a lot of fantasy and scifi, there is most of the time a character arc happening parallel to the main plot beats. Meanwhile often enough in more down to earth drama and romance, plot beats and character development beats are heavily interwoven. This is not a hard and fast rule - there absolutely is fantasy where the character arc is the plot arc, just as there is romance where the development does not play as heavily into the main plot - but you can generally observe it.

However, no matter how strongly the character development beats line up with plot beats, you cannot deny one thing: character beats are beats that also add to the pacing - even if they technically do not move the main plot forward. So, for example, if you have an episode in a show or a chapter in a book, where important beats happens in terms of a characters development (for example: they realize something important about themselves), this does not necessarily slow the pacing down - even if no actual plot beats happen.

What the fuck is a plot beat? What is a character beat?

This part of the essay was originally not included, but the people reading over it said I should include this.

If we say, that Pacing is basically the description of "Plot Beats per Time" or rather "Plot Beats and/or Character Beats per Time", then we also need to say, what exactly a Plot Beat is. I will fully admit, that this is one of those things in which I forget that this is not a thing taught in school.

I mentioned "Save the Cat" before. "Save the Cat" is a book about writing movies and specifically about pacing out a movie in a way that it is captivating. It mainly focuses on action, but you can absolutely use it for most other genres. And this comes with a so called "beat sheet", a collection of the main story beats that happen, showing when they are going to happen. It looks like this:

Basically a Beat is a scene, in which the plot (or a character arc) is moved forward by a bit. Basically anything that reveals something to the main characters, anything where the basic assumptions about the plot change, anything like that.

Examples for Plot Beats would be:

Character learns about something going on

Characters find out something important about the plot

Someone (either protagonist or antagonist) gets killed or injured

Characters get a new power or item that is important to the plot

Romance goes forward or a reason for the romance to happen is found

Characters find a hint for something they want to reach

And examples of Character Beats would be:

Character learns something about themselves

Character makes a decision for themselves

Characters realizes feelings about something or someone

Character overcomes trauma

And mind you, because I cannot fit this anywhere else: If you read these you might realize, why Musicals are basically a cheat for very fast pacing. Because you can put an entire character arc into a 4 minute song. This is why musical animated shows like Steven Universe or My Little Pony managed to pull some insanely paced episodes, like the Empire City episodes for SU, and the episode in which the Cutie Mark Crusaders finally got their Cutie Marks. Musicals are insane when it comes to this.

And something that you have to realize: While for movies and books certain Beat Sheets (Save the Cat is not the only one) work rather well, those Beat Sheets usually do not work well for Shows. And currently we are living in a time, where this becomes very noticable - because a lot of modern shows are written and aired as basically 4-8 hour movies, using often just the "Save the Cat" beat sheet (if you have read Save the Cat, you will see it EVERYWHERE, because it is so frequently used in western media), but... obviously, Save the Cat is made for something that has 2 hours, and as such a lot of modern media feels strangely slow and stretched out.

Pacing, Streaming, and the supposed "filler episode"

(Yes, this needed to be the gif for this. Because no filler episode has lodged itself quite as strong into my brain as this one.)

So, let me talk about the issue in modern media. Because oh boy.

As I said: I hyperfixated on this specific writing skill forever - and as such I was annoyed by "filler episodes" in TV shows. To explain for the youngest people (not that I am assuming a lot of those are on this hellsite lol): "Filler" was the name given to material that did not move the plot forward at all. So a "filler episode" was an episode, that was just there to fill the episode slot for the week, while no plot was happening. I am not fully sure whether the term originated with anime - but at least back in the early 2000s, before Shonen-Anime were done as 12-26 seasons that then allowed the manga to get ahead in between, "filler" was also the name used for those story arcs that the anime people made up for shows like Naruto, One Piece or Dragonball, that were not in the manga - and hence obviously also never added to any overarching narrative.

And what can I say: We did not appreciate the filler episode enough. Because this related very much to the last part: While filler episodes did indeed not add to the plot and usually by definition did not the character development, they actually still added something often enough.

They allowed the audience to get to know the characters a bit better and get a better feeling for the character relationships - and those episodes take out a bit of speed, which is actually important.

As said before: The pacing should not be even throughout an entire piece of media. In a TV series after an episode that was especially tense and pushed the plot or characters forward a lot, there should be ideally at least one or two episodes that move forward slower or even not at all. This allows the viewer to sit with the new developments for a bit - and of course the characters to have a moment to breathe and process whatever happened to them.

There is also the fact that those episodes usually give the audience a better understanding for the characters - and if you have an audience who at this point ideally care about some the characters, this will even be more successful.

And as I said. Back in ye olden days, a lot of people - me included - complained so much about Filler. But we were wrong. Fillers are amazing, as long as they do not overtake the whole show.

Pacing and Fantasy

Okay, let's talk about a thing, that is somewhat funny. A lot of fantasy - specifically written fantasy media - often has a pacing problem. And this problem comes from the Worldbuilding. Others forms of fantasy media (other than games - though pacing in games is whole different matter) have this too at times, but it tends to be worst in books.

Basically, when you are a fantasy worldbuilder, you have this whole world. And this leaves you with two problems.

a) You are afraid that people will not be able to follow the plot if you not give them a lot of information about this world and how it differs from ours.

b) Well, you build this entire world. And the people should KNOW.

So, a lot of fantasy media basically regularly will stop to explain to the reader or audience, whatever is happening right now. Some writers manage somewhat naturally put this in. Maybe they have a character that does not know a lot about for example magic or dragons, and they can ask questions and act as an audience stand-in. But even in cases, where the worldbuilding is somewhat brought in naturally (which by far is not all of them - because people usually do not naturally talk about stuff they both know, or think a lot about something they find naturally) those "explanation" pieces will make the plot come to a screeching halt.

So, the more worldbuilding you explain, the slower your pacing is.

And of course, pacing is not a reliable thing to keep people reading, and pacing will not always turn people off. But you know how people complain about how slow Lord of the Rings is? This is because of course, every time that Tolkien describes a piece of landscape over multiple pages, there is no plot happening on those pages. And while I personally think some of those descriptions are darn stunning, it is one of those things many people will not like.

However, this makes it a bit complicated. Because yes, worldbuilding explanations will slow down the pacing to a degree that can be problematic. But if you explain too little worldbuilding, people might struggle to follow the story. Which again is the most common problem if the pacing is "too fast" as well. Basically, people do not properly follow the plot and will struggle to understand what is happening and why.

But the opposite is true as well. I have read way too many fantasy books, where after the first 100 pages, I know a lot about the city the plot is set in, or about the magic system, but sadly have so far not been privy to any information what the plot is about, what the characters try to archive, or even who actually the characters are. And that, yeah... Is probably the most common reason why I put aside a variety of fantasy books in the past.

Pacing in Action-media vs anything else

Okay, let me talk about one other thing. See, the word "pacing" is at times used in some other context: In visual media, pacing will be used for the editing of what we see. Basically the amount of cuts that happen within a scene. Or, in a comic, the distribution of panels is also seen as a pacing element.

And anyone who heard people complain about how at times confusing the editing in action movies is, you know that this at times can get too much.

Still, in visual media action scenes feel usually fast - because the characters are moving around rather fast. In a visual piece of media, action scenes are often thrilling, because the characters are in constant danger of dying, and because a lot of stuff is happening. This often works better in visual media, than in written pieces. While it absolutely is possible to write thrilling action scenes, a lot of writers struggle with this, because they tend to overdescribe and that takes the speed out of the prose. But generally speaking, a couple of punches thrown - something that in a movie takes about 10 seconds - will in book easily end up in 200-500 words, which you will not read quite as fast. A bit more about that later.

And then there is the issue with the action scenes, that even is true for visual medial, is that they often really do not have any important plotbeats. Sure, if the characters have their final battle, that is a plot point. But in a lot of action media - especially TV shows - there are a lot of scenes included that really do not add anything, but just are there because folks love watching action scenes.

This goes so far, that people will think a show or movie with a lot of action scene will just be seen as "good fast pacing", even though if the actual pacing in terms of plot beats being spaced out is rather bad. As a good example I will once more nod at the Fast & Furious and the Mission Impossible movies, that often have horrid pacing and very confusing plots - but they do not feel really like it, because the movies are like 60% action scenes, and hence they do not feel like it when you watch them.

It can work at times. I spoke about my love of the F&F movies. Can I tell you a lot of the characters? Nope, but the action scenes are fun to watch!

But this also tends to mean, that in a badly paced movie or show, that is badly paced because the action scenes not adding any plot beats, everything tends to fall apart when the action scenes do not work. And often enough action scenes will still be prioritized over everything else in many of those pieces of media, making things fall apart easily.

Pacing in books vs visual media

I have hinted at this now multiple times: Written media is generally a bit harder to pace than visual media, because of the things you can and cannot control. While a writer in a book has full control over the scenario, a director of a show or movie had actually influence the timeflow of the things happening on screen. As a writer meanwhile you absolutely have no influence on the speed in which your reader will read.

Sure, you can somewhat influence it. Shorter sentences are easier read. An general lower reading level will allow people to read quicker. So simpler words, shorter words, shorter sentences will make parts appear quicker. You can use this for example in action scenes to have a bit more of this breathless feeling that an action scene on screen might have. Use short sentences. Do not link sentences up. Quick hits. Quick impressions. It can work - but it needs some training. Not to say it is fucking hard.

Generally speaking to my experience when you write a single novel, the "Save the Cat" Beat Sheet actually works rather well, if you are the kind of writer who is fairly good at planning things out. If I actually try, I will usually manage to plan out a story and predict fairly well how many words a chapter will have. So yes, for books I can very much use "Save the Cat" and it will work.

However, some things simply work a lot better when you have visual parts going on - but there are other things you can do better when you do not have the visual stuff. For example: A writer can do much more when it comes to motivation and introspection of characters. Yes, this slows down the pacing - but it is something that writing has basically over any form of media that is not a musical. (In a Musical you can characters do introspection through songs. Musicals are the ultimate way of cheating. I love them!)

Something I feel so many writers struggle with in terms of books is actually putting in a clear goal for the character from the beginning. Again: I have put too many books aside where I reached page 100 and did not yet have any goal for the main character.

That goal you give them does not necessarily need to be their final goal. Again: A lot of western storytelling deals with the incongruent nature of a characters "needs" (aka something that would actually help them) with the character's "wants" (aka what they think they would need). But at the very least the plot needs something that it can head towards from the very beginning - a hook to capture the reader.

There might be readers that are absolutely fine with just reading an exercise in worldbuilding - but you cannot expect them to be.

[toringo]

i’m OBSESSED with your anti tulpar comics, i’ve been rotating them in my mind nonstop for the past few days! how do you think a!curly feels about a!jimmy?

THANK YOU SO MUCH!

You have no idea how happy it makes me to know, that people really enjoy those. I know it's not even my au, but I've been genuinely hyperfixating on it for some time now, and making up my own lore (obviously the creator doesn't mind, they said it's all up to interpretation).

My take on A!Curly's opinion of A!Jimmy and some A!Curly background and hcs:

He thinks Jimmy is weak, pathetic, and simply put a loser. He's annoying, easy to push around, and doesn't put up too much of a fight, which is good, because - hot take - A!Curly is just as much of a pushover as the canon one.

He puts on a mean face and abuses his power to put down the others, to make himself feel better (feel important and in control), but if someone shows that they can snap back he loses the fight quite easily.

He's a people pleaser, the top student with no personal life kind. It's just that he's looking for approval as a 'tough leader' now. You know, the epitome of masculinity with nerves of steel and 0 sensitivity.

People usually need 10 years of experience to become a captain, he got the title in half that time, unlike canon!Curly (If someone asks how it was totally natural and due to his stellar performance! Don't question it too much!)

He doesn't have anything much going on back on Earth, also unlike canon Curly. He distances himself from his family (never truly satisfied with his achievements) and has no close friends. He sees no point in making any now that he spends most of his time in space. Doesn't really believe in love, either.

He didn't pass the psych eval twice in a row and is on Pony Express approved (questionable) antidepressants/mood stabilizers. Still fit to fly!

With all that being said; he considers Jimmy an easy target and abuses him primarily because of that. He can't stand this weakling stumbling around all pathetic and apologetic, while he has to work so hard to keep up his reputation.

It pisses him off that some guy just… doesn't care that others see him like this. Curly would care, it would break him if anyone thought of him like they do of Jimmy! So it's annoying that this janitor doesn't even try.

A perfect excuse to make himself feel bigger, too; it's not like he's a bad guy. This loser needs to learn, after all, that people like him don't survive in a place like this.

It gets worse when he starts realizing, that Jimmy is putting up a front and is actually way more cunning and capable than people think. Makes him feel on edge, paranoid. Like Jimmy is there to make him spiral; like he was sent by his higher-ups to check on him.

Then he finds out Jimmy is actually an emergency pilot (not on any papers Curly had access to). Yeah, he hates his guts.

When they enter their 'relationship' (it's mostly very humiliating hate sex ngl), Curly gets to know him a bit better. He still resents him, even more knowing that Jimmy can be a cold and cruel man under the mask of submissiveness. And even more, when Jimmy shows just how little respect he has for his captain.

But it's… a relief, having someone know how you really are, seeing your 'worst self'. He kind of feels like with every small thing he reveals to Jimmy, he gives up a bit more of control and gives him more ammunition, but well. Bitches be lonely.

So they have this weird thing going on, where Curly abuses Jimmy in front of the crew and during work hours, to unwind and reassure himself about his position and vent the abuse he experiences from HIS higher-ups, and Jimmy abuses him in private (for many, many reasons. Also bc he's sadistic).

They both think that if they hurt the other enough, he will stop hurting them. They're wrong. Although Curly gives up more easily, and Jimmy goes overboard quite a lot (as he has nothing to lose, is an obsessive weirdo, and was keeping his mouth shut about what Curly was doing for so long that at this point all the years of hatred are spilling out. He also has a personal vendetta against Curly, because he admired him and wanted to befriend him before he became a captain (and had any power over him) and Curly just started treating him like trash soon after getting the title).

YEAH sorry I will talk more about it later, sorry for being chaotic - they're just awful and disgusting and need to be put on some kind of meds (Curly's pills don't count)

[wukyma]

yeeop hi, it’s me, the loser who’s writing fanfic for your ghost antinous au! i’ve got some vague and ideas and a decent amount of words done but i saw one of your posts saying you’re writing a document for the au?

i’m thinking i’ll be waiting for that before i make any other big writing decisions, i’m very excited for it :D

Ahhh sorry for the confusion, that was for another thing :'D

Regardless, I do have some ideas for ghost Antinous if you're interested!

(sorry for mentioning but u said u were interested too so @bb-bugspot)

Yappery under the cut 👇

You know that Hermes was also a guide for the dead? One of his "jobs" was bringing souls of mortals to the underworld – the 108 suitors as well, apparently, and whether they were buried appropriately or not doesn't really matter here

What happens? A certain ghosty someone (Antinous) spends the whole day trying to strangle both Odysseus and Telemachus (spoiler: he can't), missing Hermes' arrival to Ithaca like a loser ☆ﾟ⁠.⁠*⁠･⁠｡ﾟ

Hermes bringing a hoard of souls to the underworld: let's see... One, two, three, four... ten......... nah I'm too lazy to do that, bye idiots *flies away*

Now we have Antinous, stuck in the mortal plane where no one can see him, having to watch the happy and thriving family, annoyed, jealous, and alone. Like he deserves tbh

And since I was leaning into comedy in the beginning, Telemachus starting to hear (and later even see; idk maybe Hermes' heritage activated or smth) him is a source of all kinds of moments where he has to act like ✨ everything is fine ✨ while there's an angry dude screaming in his ear "PAY ATTENTION TO ME"

If we sprinkle it with sad vibes then Antinous is pestering Telemachus for two reasons:

he hates him and has nothing better to do anyway

it's the closest thing to human interaction he has now lol

Basically talking to (read: pissing off) Telemachus is the only entertainment, and as time passes he just becomes something of a voice of conscience but diametrically opposed, and by that I mean:

"Who does this prick think he is?! Kick his ass Tele KICK HIS ASS"

"Wow, loser (Peisistratus probably idk) actually likes you, what a moron. You too btw"

Probably the first thing Telemachus sees in the morning too,, poor boy; maybe Antinous even tries to trip him up from time to time (they can't touch each other but small things like these work), invades his personal space, swipes off random objects from their designated surfaces, talks shit during family dinners (Telemachus actually thinks some of it is funny but he won't say that out loud, nuh uh) Penelope and Odysseus are a bit concerned about the strange expressions he makes XD

That dynamic goes on until the moment Antinous says a particularly foul joke and Telemachus slaps him (not really hoping for anything since every time he tried his hand just went through); the hit lands, both are like wtf just happened??? That puts an end to random chaos because (1) Telemachus is older now and will/can beat the shit out of him (2) Antinous just doesn't find the same satisfaction in annoying the prince like before, for some reason

So they just....... come to accept the situation and stick together like the weirdest pair of mismatched socks. END

(one more crumb of comedy material: Antinous now drops random objects on people's heads when they disrespect Telemachus or some similar thing)

That's it! There's one important thing I wanna say tho,, what I wrote is just my vision, if you had something else in mind and it doesn't align with this don't worry too much!! I want to know your ideas as well, and honestly, there wasn't a lot of thought put in cooking up an actual plot on my side; write whatever you feel like writing, I'm already happy those sketches inspired somebody X)

(And! Guys!! A bit of disclaimer: it's not like I'm sticking fingers in ears and going lalalalalala when it comes to Antinous' canon jerk behavior, or justify him – this whole au retains ✨funsies rights✨, don't take it too seriously please)

[out-there-tmblr]

Young zaundads wip (20)

***

At the end of the month, Silco forgoes a day's pay to line up with Vander and withdraw money. It's the same as always: a long snaking queue across the courtyard, two Piltie bookkeepers sitting with their piles of folders and the cash box between them; six bored looking enforcers standing behind them, with their masks and goggles, hands loose on their guns.

It's the same as always, but Silco keeps his arms crossed and his scowl grows meaner with every shuffling step forward. He looks like he's about to start ranting about the unfairness of having to beg for wages they've already earned.

"Stop looking at me like that," Silco hisses at him, which feels unfair given that Vander hasn't said anything. "I'm not stupid enough to say something in front of enforcers."

"I'm well aware you're not stupid," Vander says gently, but it doesn't work. Silco only glares at him. "I mean it. Sharp as a fish hook, my Ma would say."

"She really was a riversider," Silco mutters back and Vander will happily take the edge of mocking rather than that tightly-held anger.

"Got something against riverside? Going to tell me we all smell like chum?"

Silco raises an eyebrow in challenge. "That you can't walk straight on land unless you're drunk?"

"That a freshly washed riversider only has silt between their toes?"

Silco snorts in amusement as they shuffle forward another step. "And the only way to get their attention is to dress in canvas and bring rope?"

Vander laughs at that one. It's such a stupid fisherman joke, but it's not the sort of joke anyone makes around a guy Vander's size. "Yeah, that's us. If it doesn't float or have fins, we're not interested."

Silco tilts his head, his expression becoming thoughtful. "Why didn't you join a boat? Better than being here."

"I get seasick," Vander says, like stepping onto a boat doesn't make him think of his father every damn time. Wonder if he should be mourning or fuming.

"You grew up by the river. How can you get seasick?"

"It's a skill."

"Not a very good one," Silco replies and they shuffle forward another step.

It takes another hour of standing in the electric lights of the courtyard, but eventually they get to the bookkeepers. There's no true privacy in the mine – too many people and not enough space. From his spot in line, Vander hears Silco requesting a balance, and pulling out his notebook. A large folder is opened on the table, the bookkeeping looking up Silco's name.

He reads out the figure and Silco copies it down, while Vander looks on, stunned. It's over twenty thousand bronze. Vander has to cunt on his fingers to translate that debt to gold, but two thousand four hundred gold sounds even worse. Three hundred gold is an impossible figure. Ten times that…

But Silco doesn't even blink at that figure. He just nods and then says, "I want to withdraw coin. How much am I allowed to withdraw on credit?" He withdraws the maximum amount and then asks for half of it in silver.

Vander gets waved over to the other bookkeeper as the coins are counted out.

Vander has nearly eight hundred bronze owed to him. He withdraws most of it, even takes some out in gold just to hold the sparkle in his hand.

He finds Silco waiting for him with a pouch of coins. "Sixty. We didn't agree on interest, but five seems fair."

"For the wood?" Vander stares at the pouch, at the seven bronze lect in Silco's palm. "You don't have to pay me. I don't need–"

"There's nothing free down here," Silco talks over him. "You pay now or you pay later. I don't like building up debts."

"You owe them over twenty thousand!"

Silco looks up at Vander, not backing down an inch. "To be precise, twenty-one thousand, five hundred and eighty. I won't owe you as well."

"Look," Vander says, wrapping a hand around Silco's arm and tugging him away from the others. "I'm sleeping there too. Every night, I'm saving money because I don't have to pay for a bunk. If we're both gaining from it, we should go halves in the costs."

Through narrowed blue eyes, Silco considers it.

"And no interest," Vander adds. "Not between us. We're better than the damn company."

Silco gives one sharp nod to that. "Fine. Halves. That's twenty-seven bronze."

Vander hands him back the pouch. "And the bed too. We should go halves in that."

Silco glances down at his coins, and quickly realises he'll have just enough. "I could have waited until next month, Vander. I don't need charity."

"The isn't charity. This is us working together and improving life for both of us." Vander leans down, low enough that he can whisper right into Silco's ear. Boice pitched carefullylow, he adds, "And this way I don't have to wait to fuck you in a real bed."

***

[perihel1on]

This has been stewing in my drafts for awhile as I try to get my thoughts together, but, this post has given me a lot of peace. (This kind of turned into a personal essay under your post... my apologies).

I'm in an unusual position as a (mostly) interpreted-singlet who spent a number of years as interpreted-plural. Though I'd wager it's slightly less unusual than it seems, and most people with similar experiences simply abandoned or deleted the blogs/spaces where they previously talked about being plural. Anecdotally, I've seen at least one other person openly discuss an experience similar to mine.

In my teenage years, I was psychologically disintegrating from a variety of pressures on me, and I suppose I do mean that rather literally. I never experienced the very sharp discontinuity characteristic of DID, but I was some level of dissociated near constantly for years. I was desperately lonely and very suicidal. Without my alters, I do believe I wouldn't have survived.

I never "made up" being a system. Interpreting my experiences that way made the most sense to me at the time. As I began to heal, I dissociated less and became less fixated on my inner-world and sense of self. I never discussed it openly here, because I felt ashamed, and worried that I'd be accused of either faking or suppressing my alters. But I quietly stopped talking about them, quietly retired (most of) their sideblogs, and quietly used my "system tag" less and less.

But - if you go look at my "system tag" - you'll notice I still use it occasionally. I do still sometimes have experiences that are at the very least system-adjacent. I still dissociate sometimes; now and then I'll get the phantom physical sensations I always associated with Naph; sporadically, my thoughts will take the form of back-and-forth chatter that sounds like a conversation, or default to "us/we"; I'll seem to hold multiple conflicting opinions on the same topic. A few months ago, Ada (our caretaker) talked me down from an anxiety attack while I drove home, and that was an experience so distinct I can't really refer to it any other way.

Previously I would have obsessively interrogated these experiences, trying frantically to fit them into a cohesive picture of self or selves. Now I really just let them happen as they happen. Overall, for me, personally, I think it's healthier to interpret everything as part of one very fluid identity. But when something seems to challenge that, I don't worry about it too much, either. It's a sort of radical self acceptance, I suppose.

For the most part, I don't "miss" my alters, and I also don't "regret" having identified as a system. I'm very grateful to my alters and everything they did for me, but for the most part I now view their strengths as my own. I still have sideblogs for a few of them, but I see them more as places to express distinct facets of myself. I still don't feel like I have a strong, central identity - a lot of facts I hold about myself come with a question mark. I suppose I could call us a median system, if I wanted to... I'm just not sure I feel the need for labels anymore.

I very rarely see the grey area acknowledged and I don't think I've ever seen it put so succinctly as "interpreted-singlets" and "interpreted-plurals". Other than the one other person I mentioned before, I'm not sure I've ever seen it suggested that it could be reasonable for some people to migrate between or be able to interpret themselves either way. This honestly helped me come to terms with it more, to the point I felt like I could talk about it publicly like this.

So, sincerely, thank you.

Hey uh, not sure if there's anything to elaborate on wrt the "wanting to be plural is a symptom of being plural" post, but is that true? Because I've been avoiding that possibility, if only because I've been so sure that it isn't a possibility. I don't really know what I'm saying here it's just, could that post really be true?

So we thought we were the only ones selling this kind of perspective to people, but recently pluralrespect on neocities (which we already liked re: intrasys relationships) started including something similar, but with more structure.

It breaks down like this: Singlets choose to interpret their personal experiences as being one person. It gets privileged as the default because that's how we're socialised, but a (usually unconscious) choice is being made to view all their experiences - including kinda plural-coded stuff like code switching, masking, genderfluidity, weird dreams, varying vibes day-on-day, internal conflict, etc - as representing a singular identity.

There are also a lot of people who's experiences can't realistically be interpreted singletwise - folks that experience switches with totally separate memory is an extreme example. The plural explanation is the only thing that makes any sense of it at all.

This creates this big grey area that encompasses all those interpreted-singlets with kinda-plural experiences, and those interpreted-plurals who could reasonably interpret themselves as singlets (again) if they wanted to. Within this grey area, you have the wiggle room to observe your personal experiences, and conceptualise your identity one way, or the other way.

One of those ways might feel more "right" to you, more sensical, more comfortable, safer - so in that sense, yeah. wanting to be plural is a symptom of being plural. Fantasising about what it would be like to understand yourself in the other way is probably a sign that you should try it - see how thinking of yourself that way feels, just for a day or whatever. If it's too weird, go back. If not, keep going.

Now, letting yourself have an open mind may invite experiences that make a singlet interpretation less sensible - so only test the waters if both possible conclusions are safe for you to have. Outside of that, you can always change your mind - so, give it a shot.