#i don't have much in the way of story but. there are these two scenes in my head that are SO good

[fixyourwritinghabits]

Editing Your Novel Part 2: The Plot Pass

Okay, it's finally time to edit. You've got all your materials sorted, it's time to dive right in. You want to start with the big edits first, aka the plot pass.

Now listen. You're going to want to linger and fix those little bits of grammar or dialogue, and I know it's so hard not to, but letting yourself get off-track might mean wasting hours on a scene you realize later you have to delete. Fix a few spelling errors, leave a note, and stay plot-focused.

Making Sense (Of the Plot)

In the plot pass, you're asking yourself some basic questions:

Do events follow a clear order? - When you're getting everything down on the page for the first time, scenes might get jumbled up or events might not have clear causes. Maybe you have a car crashing into the cafe pages before, but in a writing haze, you wrote your main characters having a casual conversation moments later. If the bad guy beats your heroes to treasure, is it clear how they got there? (Not everyone can be Yzma.)

Do circumstances feel contrived? If there are any problems that can be solved by your characters sitting down and talking to each other, it may be better to lean into their motivation for not speaking to each other, rather than coming up with bad romcom scenarios. If the plot can be resolved by the mcguffin the grandma had the whole time, it might be better to make finding that mcguffin part of the plot instead.

It doesn't have to be perfect, and you don't have to reinvent the wheel. If someone gets bitten by a werewolf, it's perfectly fine to have them turn into one at the worst possible moment. When it comes to contrived, you're looking for problems that seem easy to solve and look for more interesting ways to complicate them.

Are your character motivations consistent to the characters throughout the story? - They can change throughout the story, but character motivations do need to be linked to the actions they take. An out-of-nowhere betrayal is way more satisfying if you lay the groundwork for it ahead of time.

Take a moment to list out the motivations of the characters in a scene you're not quite sure of can help you figure how to fix it. Having an outline helps with this a lot!

Are you following an "if... then" format? - My brain doesn't work like this when I'm writing, because as a writer you know how A got to Z, and it seems (in your head) obvious how it happened. This is where my scene card outline come in handy, because I can look at my overview of what should happen and why, and then compare it to what actually happens in the scene. I've discovered so many threads I forgot to connect that way, like why a character had a certain device (I forgot to have him pick it up two scenes earlier), or adding a few simmering dialogue bits that make the big fight pay off much better.

Can you fix the "Because the Plot Demands It" scenes? - Look, sometimes your character needs to be in that haunted house to see that damn ghost, but your character isn't the type to set foot in such a place. It's really easy, especially in the first draft, to contrive a way in there (she took a wrong turn on her way to grandma's!), but retooling these scenes to connect them to the characters motivations and needs is the way to go. The main character doesn't want to go into that obviously cursed place, but her best friend hasn't shown up for school in three days and now she's crying for help from the second floor window. Your character's strong desire to be there for her friend is a much better way to get her into that house.

This is not always easy - it took me six fricken drafts to realize a critical part of a character's motivation was because his father blamed him for his mother's death - but it is going to be worth putting in the work to hammer down.

Do you have a solid timeline? - This might not seem as important, but it's super easy to accidentally fit two weeks worth of activities in three days. Make sure you have that on reference, even if you don't mention it in the book. Also make sure to gauge your distances if your characters are on a trip, because if you do accidentally say it takes two hours to drive from Seattle to Spokane instead of five, someone will dive down your throat for it. Not me. Just someone.

Okay, maybe me. Slow down, you maniacs.

Next post we'll dive into the structure pass. See you then!

[mysoftboybensolo]

Things I Don't Understand of Audiences Reaction of Nosferatu 2024

Complaints of how this is a ripoff of Dracula, and I am like, of course it is! The original 1922 film is the most famous ripoff in the history of cinema, but it is also one of the best ripoffs ever. Maybe know your history just a bit.

Why are people saying that Ellen dying was stupid or unnecessary? Firstly, that has been the ending in the 1922 and the 1979 film, this wasn't just anything Eggers pulled from nowhere. Secondly, people don't seem to understand that the Gothic genre never not one that allows it's characters to walk away unscathed, whether it is physical damage or mental damage. Blood is demanded, and hardly a truly happy ending is found, at best a bittersweet ending or at worst an ending where everyone is unhappy. I think not only is it true to the films this one is based on, but also the only satisfying ending. Ellen wouldn't have been truly happy if she had survived, because she still will be a seer, she will still have darkness looming inside, and Thomas is either incapable or unwilling to accept it. He's belief that killing Orlok will bring a reset to everything, even bringing Ellen back to how she was before, but the Ellen she was before was still suffered. He brushes aside her nightmares without comfort, he doesn't take into account how she views their marriage (when she insists that she doesn't need material things but he acts as if he knows better), and when she tries to express her suffering, he would prefer her to suppress it. She would never be truly free, but to die doing a good thing, to have control over her death the way she didn't in life, it's an empowering end, if bittersweet.

People complaining about the pace of the film, saying it starts off fine but then drags in the middle? I think the film flowed wonderfully, there was never a moment when I was thinking how much longer to the end or felt it rushed in the story. I personally cannot wait until we get the extended version, but I am happy with how it came out.

Where are people getting "Orlok groomed Ellen" from? Grooming is when someone goes after a minor and gets them to be emotionally attached to them for a long period of time in order to achieve some sort of goal (often times sex). People have been saying Ellen was a "literal child", but we don't know that for certain. Yes, Ellen described herself as a child, but it seems that the term child is used more as a synonym of "inexperienced" or "young". Also, we are not sure how old any of these characters are. If we were to go by actors ages as guidelines, Lily-Rose Depp was 24 when filming this, and all we get in between the first scene to the present day is merely "years later". That can mean two years or ten, we cannot be sure. And while Lil-Rose Depp can look younger than her age, no one better try and say she was playing a 12 year old or whatever in that first scene, because there is no way you can convince me she is as young as that. Also, Ellen hadn't been emotionally attached to Orlok between the years to make it grooming. I can make a better argument of grooming in another famous Gothic movie the 2004 "Phantom of the Opera" then I could with "Nosferatu".

Listen, this movie won't be for everyone, that is fine, but what I have an issue with is saying people are dumb or evil for thinking Ellen x Orlok is interesting/has romantic elements to it. One person commented on another's post about saying that the cast are dumb for seeing this as a love triangle, especially Lily-Rose Depp for not seeing Ellen as a victim. The director, who also wrote it, wanted this version to play up the Death and the Maiden themes, that was their vision, and I don't think it's right or fair to say they are dumb because the original movie wasn't a love triangle. If we were to be really anal about it, so many pieces of media we have we wouldn't be able to enjoy because it's origins are not the same. Sorry Disney's Hunchback fans, you can't enjoy the happy ending because the original was a downer. Sorry Wicked fans, it's nothing like "The Wonderful Wizard of Oz", so it shouldn't be enjoyed. See how ridiculous it sounds? You can debate if whether or not they managed to achieve their goal, but you can't deny that was the intention and say people are dumb for picking up what they had intended.

I also feel that it's quite hypocritical of people to say that the relationship between Orlok and Ellen is evil and creepy, but then go off and say that the scenes where Friedrich has sex with Anna's corpse as "romantic" and Thomas' couch scene as "hot", when both deal with dubious/no consent at all. Just admit it, you are fine with dubious stuff so long as it's a hot guy doing it. The couch scene was quite uncomfortable for me, Ellen is clearly not in her right mind, even if not by some kind of possession, but emotionally, and it didn't sit right what Thomas did. I am not saying he raped her, but she wasn't in the right mind space to have this be a passionate moment. And he wasn't doing because of love or passion, he was doing it because he didn't like hearing Ellen say how he couldn't please her like the Count could. We had seen what they are like when they are in a good head space and the feeling mutual, as we saw in the den of the Harding's home. I feel like this scene wasn't meant to be a hot and sexy moment, but a incredibly distressing moment when two individuals are acting at their worst.

I don't understand how people feel that this film isn't a feminist film. I've seen people claim that the movie shames Ellen and that her not finding out how to stop Orlok is robbing her of her agency. Here's the thing, yes, many characters shame her for what she feels, but the narrative doesn't. As the audience, we feel sorry for her, feel bad for everything she is going through, and given the time period, of course there would be many people (mainly men) who will shame her passions or deny her darkness in favor for a more "womanly behavior". We are meant to see how the human world would never understand Ellen the way Orlok would understand her, why she would have called out a force that is inhuman, because humanity has turned her away. What's fascinating is that Ellen has control of Orlok, being able to call him, speak to him as an equal, and get him, a powerful centuries old being, to admit that she is his affliction, his weakness, and in the end, it's proven right. This mortal woman is able to defeat a supernatural being, all the while him loving her, how is that not awesome and feminist?

In regards to her finding the cure; true, in both the '22 and '79 film, Ellen figure out on her own what needs to be done to stop Orlok, but that doesn't mean '24 Ellen isn't smart or in charge of her own actions. We've seen Ellen say what the future holds multiple times, so it isn't crazy to believe that she would have seen what her fate would have been as it drew closer, and her need to talk to Von Franz read to me as her knowing the cure. When Ellen walks Von Franz to his home, she says that she knows what must be done, and they work together to make this happen, with him promising to keep Thomas away. Out of all the men, Von Franz had been the only one to take her feelings and thoughts seriously, and he does so here, including her in the plan (where Thomas had refused her to help), even giving her the chance to be stop Orlok without interruption. He isn't denying her agency, he's keeping others at bay so she can be the hero.

I like the moustache, just like a Romanian nobleman would have had, exactly what the director wanted. After leaving the theatre, my friend and I were discussing the film, and of course the design of Orlok was brought up, and she said "I liked it, especially the moustache, very Vlad the Impaler". She isn't a massive Dracula fan but she understood what was the inspiration behind it. Y'all are just uncultured swine.

In the end, I love this film, and wanted to just share my two cents.

[writinginthestars]

Some thoughts about our archangel after the January update

I thought a bit about that scene from episode 8, where Mikael destroys the stone and what this says about his character and how it relates to other aspects of him.

It was definitely not surprising that he would make that decision and also take it upon himself. This is very in-character for our Mikael, who usually makes only rational decisions (except when his feelings for Audrey get in the way), who tends to be unemotional, rather cold towards the fate of random people and very calculated. He's also a leader and a soldier (Felonia's term), so making hard decisions and accepting the consequences is something he's probably done over and over again.

Also, that scene is pretty much exactly what that mysterious voice once told us about Mikael in Audrey's dream:

So, Mikael did what he usually does and what he thinks is necessary and right. Audrey even comes to this conclusion (at least if you took the kiss scene, where they briefly talk about masks):

And because of all this I find it even more interesting that between him and Raphael, Mikael is the one with healing magic. And not just that. He has a rare gift and is also exceptionally good with it:

So, of all immortals in this story it's our cold-blooded, unfeeling solier with the presumably hight body count who has healing magic. And even though he's already among the best healers, Mikael would still like to be able to do more:

So. There's that.

I don't really have a conclusion for this little essay, because I wouldn't go as far as saying that there's two sides to Mikael. Because he's too complex to divide him into just that.

But there's also no denying that some parts of him seem to be opposing one another: He's a soldier and killing people. He's a healer and healing people. He doesn't feel the weight of his decisions (or at least doesn't allow himself to), yet he regrets not being able to do more to help.

I find that so interesting about him and it makes Mikael even more attractive. To me, his icy, calculating side is really hot most of the time and he's also so appealing when he cares and soothes. And it makes him such a complex and complicated character that I really want to dive even deeper and see what else there is to him.

And kudos to Elena for creating a character who is everything of the above and still never feels out of character. It's always Mikael, whether he destroys or heals.

[moon-buggg]

1 for the micro story!

don't go

You were... probably not doing the best of jobs hiding how sore your ankle was. But, you had refused to be carried, so for the sake of your ego you hobbled on, a not insignificant portion of your weight leaning on Moon as you two slowly but surely make your way through the winding back halls of the haunted house.

Moon is utterly silent, though you can feel the heavy weight of his unyielding stare as he no doubt searches for any trace of pain on your face. You're doing your best not to let him see any, but... it isn't exactly easy. The trek to the break room for ice is made twice as long by the slow pace Moon sets. He refuses to go any faster, not even acknowledging you when you try and hurry him up.

It's probably for the best. As much as you don't want to admit it, the sprain feels pretty bad.

You just hope Moon isn't feeling too guilty.

It wasn't his fault. But good luck trying to convince him that.

You hadn't been in your usual spot for his scene, the one where he grabs you and drags you out of the room. You couldn't have been. Not with how he knocked into you instead of grabbing you. Neither of the two animatronics had ever been off point like this before. You do not blame him.

It was an accident. One you've already forgiven, as you'd assured him many times over by now.

When you finally make it to the break room, you wave Moon away from helping you sit down and instead ask him to grab some ice from the fridge. He doesn't have to move much, the room is small, barely enough go contain his massive form. His long limbs make quick work of grabbing the ice and a ziploc to put it in with stilted, understated movements. Nothing at all like the Moon you know.

He hands you the bag, still as silent as he has been since he whispered a barely audible apology, and turns to leave.

"Hey, wait!" You say, dropping the ice in the process of reaching out for him. Moon jolts, his head nearly hitting the ceiling as he turns around to stare at you. You continue, "don't- don't go."

He doesn't move. The quiet hum of the fridge the only sound in the room. Your ankle aches.

You refuse to whither under his blank, smiling stare. After far too long, he finally responds. "...why?" He sounds genuinely confused, like he cannot possibly fathom you actually wanting him in the room.

"Because you're-" you hesitate for just a moment, easily written off as a stutter, "because you're my friend, Moon. Why would I want you to leave?" For as much as 'friend' feels woefully inaccurate, it's what you say.

He looks away from you at that, his faceplate shifting down towards the ground as he considers your words. Just when you're about to say something, he sags down into a low crouch. Making himself smaller in a room not built for his height.

"I hurt you," he says, like that was all the convincing you would need to realize your mistake and change your mind. You ignore the dull throbbing ache. The ice starts to melt on the break room floor.

"Moon, did you mean to hurt me?" You ask bluntly and get a nearly franktic shake of the head in return. "Then it was an accident. I'm not mad, my ankle will heal. It's ok."

He doesn't seem to believe you, remaining hunched over on the opposite side of the room from you. You sigh, glancing down at the ice you dropped. "Would you mind picking that up for me?" You ask, sounding more tired than you mean to.

It takes a minute, but slowly, hesitantly, Moon creeps towards you. You watch with a small smile that grows when he gingerly hands you the bag. You let your hand linger on his claws as you take it, offering soft 'thank you' as you do. His long arm snakes back away from you, but he seems a little less tense as you finally get the ice on your ankle.

[cosmerelists]

Did I Achieve my Earnest Hopes & Dreams for Wind and Truth?

The night before Wind and Truth came out, I wrote up a list of things I was hoping to have happen (or not happen) in that book. Now that it's a month later and I've finished it, how much of what I wanted did I get?

[Obviously, big big spoilers for Wind & Truth!]

Kaladin lives. WELL... He is...alive. Immortal, really. But all of his friends think he's dead, since he left his body behind when he became a Herald. He did not get to meet with up Adolin & Shallan for drinks like he promised. That's more what I was hoping for...but I'll take this. He IS alive.

Kaladin lives and is happy. WELL... I actually think he's...somewhat happy? He swore the Fifth Ideal. He's with Syl. He's in a Tranquil Mind Palace giving therapy to the Heralds. It does seem like it might get a bit...lonely? But it did not end with him broken or anything like that, so again...I'll take this. He's not unhappy.

There's a really cool Kaladin fight. Maybe two. Honestly, I think we had a sad lack of cool Kaladin fights. I understand that this book was all about Kaladin figuring out who he is without the spear, and I respect that...but I did miss there being some kind of Grand Kaladin Entrance After Which He Kicks Serious Butt. The only fight we got was him vs. Nale, which was...okay, but was solved ultimately via Flute and Therapy and not Cool Fighting Moves. I'm a somewhat simple soul. I missed having Cool Fighting Moves.

Kaladin & Szeth have to fight someone together. Not really. :( Not in the "back-to-back facing off against a hundred foes" that I was picturing, at least.

Leshwi has a significant role. Leshwi was there, but mostly walking and complaining about having to walk now. Again, I was hoping for more Cool Fighting Leshwi, which we didn't get, but I did like that we at least got some scenes with her.

There's a really cool Leshwi fight. Sadly, not so much. Her small amount of fighting was off-screen.

Adolin is NOT Odium's champion. He sure wasn't!

Adolin lives. He did! I think the Adolin story was one of my favorites, to be honest. Him becoming Unoathed was so cool.

Shallan lives (I'm not super worried about her for whatever reason but I couldn't just include two of the three, you know?) She did! ...Although trapped in Shadesmar but NOT able to world jump, which feels like the worst of both worlds. As soon as she got trapped I was like "Hell yeah Shallan worldhopper," but it doesn't seem like it's going that way, unfortunately.

Rlain & Renarin romance. Hell yeah! The Rlain & Renarin romance throughout this was super cute.

Rlain & Renarin romance that isn't like tragic or awkward or anything. I request warm & fuzzy plz. Yes! I like that it wasn't super angsty or anything. They both realized that they liked each other pretty quickly and then just kept making eyes at each other.

Shallan & Thaidakar meet. Well, they TALKED, so I'll take that!

MeLaan cameo. Well, as @archmage236 pointed out at the time, this was impossible since Mistborn Era 2 is after Stormlight. And there were no time travel shenanigans either. We DID get a kandra...but it was Ulaam, and not a cool kandra spy reveal.

...I notice the MeLaan cameo. I didn't but I'm pretty sure it's not my bad this time.

Rock returns or at least is in the book somehow. There was NO Rock! I was genuinely sad about that.

Kaladin hits his head on a doorframe in Shinovar. But not as sad as I was about Kaladin not bonking his head on ANYTHING. A tragic missed opportunity.

Navani invents something cool. You know...I don't think she did, unless you count the weird cocoon thing at the end. But she did figure out how to navigate through the Spiritual Realm, which was a cool Navani Science Moment so I'm counting it.

Navani thinks about Raboniel. I think maybe briefly?

We get the third Bondsmith. We did not! And now that Honor is (actually) dead, I feel like we won't? That's too bad, honestly.

The third Bondsmith isn't human. I suppose technically I got my wish here, yeah.

We find out that there are more than five Radiant oaths (pet theory that I want to be right about) Well I'm not right YET, but...come on! Honor even said he hates the number 5! How could that be the number of oaths?? It just doesn't make sense. It would be like there only being 11 metals or something.

Hemalurgy gets used.....I know that would be bad but I think it would be interesting. Hell yeah. It didn't have a huge role but I was actually delighted that Moash got Marshed.

Hemalurgy doesn't get used on anyone I care about!! I mean...I do care about Moash but I think he was a good choice for this. Future Herald Kaladin vs. Hemalurgic Moash battle, one assumes?

Shallan doesn't incorporate Radiant. :(

Maya cure. Yeah, like I said, I thought Adolin's arc--and by extension, Maya and the other Deadeyes' arc--was great! Maya was so butch and I love what she created with Adolin.

The theory that Shallan's mother was a Herald is confirmed. I think it's a cool theory. Oh wow was it ever! The chills I got when Shallan said, "She was at my wedding."

Bondsmith powers used for a fight. I think it would be cool. Sadly, no. We never really did get to see how they'd be used in combat.

Satisfying Sanderlanche. I don't think it was the Greatest Sanderlanche of All Time or anything, but I was fully captivated (and yes, the biggest downside for me was that it was more Emotions and Philosophy than Cool Fights with Swords. I'm a simple woman).

Kaladin meets a sheep. Or a dog. Or BOTH. I CAN'T BELIEVE SANDERSON CANONIZED NO DOGS AT ALL. Tragic. A true blow. And Kaladin only saw sheep from a distance.

I don't cry too hard... I actually did not. I teared up at actually two parts: when Maya came with all of the Deadeyes and when Kaladin decided to take Szeth's place as the Herald. (But honestly, I don't cry at books very often, so maybe that's on me.)

[sturniololuv08]

TreeHouse Chapter 4

"A gentleman always pays for the date."

Summary: Sienne gets more than she wants from her date with Matt

"The halls of high school may echo with love, but the future is rarely paved with it."

⚠️This Fic Series will NOT be for people with triggers. This Fic Series will have very descriptive moments of abuse.⚠️

Please Read At Your Own Risk.

Sienna's POV:

The basketball game tonight was on the outside courts because the weather was decent. Julia insisted I wear something super cute to impress Matt. I let Julia dress me up, unsure of what would impress Matt. She put me in the most uncomfortable skirt. The skin-tight long-sleeve shirt wasn't as bad, but the amount of cleavage it showed was unnecessary. The best part about the outfit was my black high-top boots. They were comfortable, and they were actually mine.

"I don't see Matt."

"Nick, either." AK was also looking.

"Are you sure you're not -"

"Everyone knows Nick is one inch taller than Matt." Both Julia and I stopped and looked at him with the same expression.

"Everyone?" We both said in unison.

"He's the oldest too. Did you know that?" He ignored our judgment.

"Anyways... Keep looking for Matt." We went back to searching for him. He seemed to be all about me, but Julia was all about finding him. He was cute, and Nick was cute. I didn't know either of them well, though, other than whatever rumors were spread around school that I chose to listen to.

"There they are." The pair walking in was like a movie scene. Almost everyone was watching them, and Nick slowly threw his head back in laughter while Matt had a hot smirk tugging at the corner of his lips. The only thing missing was if people were taking pictures and flashing lights on them.

"Matt!" Julia was quick to get his attention in our direction. He head nodded at her, and she gasped.

"Julia, he's not a celebrity." Once he saw me standing in the bleachers next to her, he held up a single finger. I couldn't help but smile. He and Nick stood in the middle of the entryway with the concessions, talking for a minute, and then Nick headed to the stand while Matt headed towards us.

"Hey Sienna," he immediately grabbed me in a hug. His smell was fresh and clean, and I wondered what soap he used in the shower. I quickly reprimanded myself for being weird and broke the hug apart. "You look amazing," he looked me up and down. I suddenly felt self-conscious.

"Thank you." I blushed and looked down slightly, letting my hair cover it.

"Where is Nick?" AK wasn't subtle about his concerns.

"He is getting us all snacks. Might need help carrying them." Matt pointed over his shoulder with his thumb.

"Peace." AK started walking down the bleachers. The three of us sat down.

"So, you like basketball?" I asked Matt, trying to figure out something to talk about.

"Yeah, it's not bad. I could never play, though. I'm the worst." I giggled at his joke.

"I'm pretty good maybe I could teach you a thing or two?" I tried to be flirty. Having thee Matthew Sturniolo's attention was the best way to gain popularity in school. Not that I wanted it or cared but I knew Julia was hoping for a seat at the cool kids table so to speak.

"You play?" He leaned back to look at me.

"Yeah, I play a lot of sports." It was true. Whether I was good or not was a different story. I was pretty much mediocre at all of them except swimming. I have won a few awards from competitions at our school and outside organizations where I competed. Swimming was a freeing feeling. Being under the water, everything stopped.

"That's pretty cool." He wrapped his arm around my shoulder, and I saw Julia start to freak out. Nick and AK came back, holding everything haphazardly.

"Drinks. Candy. Popcorn." They started dishing it all out.

"You didn't have to buy us anything." I started saying.

"Of course I did. A gentleman always pays for the date." He smirked that intoxicating smirk.

"Date?" Julia whispered behind us while looking at AK.

"Thank you, Matt. That's so sweet of you." I glared at her since she wasn't very quiet. The game started, and Matt paid more attention to that than me. I wasn't complaining, though; his attention made me nervous. He stood up and cheered when someone's shot went in. "I'm gonna go to the bathroom." I stood up and looked behind me at Julia. She nodded and stood up to come with me.

"He is so into you." She gushed as soon as we were further down the bleachers.

"I know, but... why?" I asked, holding the door for her.

"You are so cool and hot. Maybe Ms. Williams did you a favor." She had a smug grin.

"I still hate you for that."

"Hey, Matt doesn't seem to mind," she winked as she came out of the stall. As we washed our hands, I looked at myself in the mirror. I just didn't feel like myself. I felt like I was forcing it, whatever it was. "Coming?" she asked by the door. I looked down at the water running over my fingers, with no visible soap left.

"Yeah. I'll be out in a minute." I forced a smile. I dried my hands and scrolled ConNext. I let out a sigh and smiled at myself one time in the mirror. Matt was so attractive that there was no point in being with me, but we would see how the night went. I pushed the door open and started walking down between the brick wall and the gate around the sports complex.

"Hey." Matt approached me, meeting me in the middle.

"Hi." I smiled and flipped my hair over my shoulder.

"You enjoying the game?" He looked fidgety.

"Uh, yeah." I lied. I didn't really enjoy watching it as much as I did playing it, and I couldn't stop wondering why he was suddenly showing interest in me the whole time, so I was just distracted all around. "What about you?"

"It's good. Wish we could talk more." He leaned back against the wall.

"About what?" I asked, skeptical.

"Just in general. I wanna talk about anything." He shrugged.

"Okay, let's start with why you are suddenly interested in me." The words left my mouth before I could make them sound flirtatious.

"Oh." He straightened up. "I guess I always kinda had eyes for you. You're really nice, and I like your style." He looked me up and down and wasn't afraid to make it obvious. I felt my cheeks get hot at his actions.

"Really?" I asked, a little shocked. I had no idea I had been on his radar for a while or even at all.

"Of course." He stepped closer to me and tugged me into him. "Why not?" He whispered. He pulled me into him, and I didn't hesitate. I felt his lips press on mine, and I melted into the touch. He was definitely experienced. His motions were swift and sensual. He moaned a little as his long fingers worked their way down into my skirt from my hips.

"No." I pushed back a little. He gripped me and pulled me in. Gripping me tightly.

"No?" He asked, looking into my eyes. His eyes gave me that sense of comfort again, but I knew my own personal boundaries.

"N.. no..." I stuttered. I was sure of my answer but unsure of his harsh actions holding me still.

"Come on." He started sucking on my neck, and his fingers played with my underwear band.

"No, Matt." I pushed myself off of him again. I made it free from his grip and marched back to Julia. Matt wasn't far behind me.

"Hey." She was unaware of what had happened. Matt awkwardly put his arm around my shoulder again, holding me close to him. I didn't want to ruin the mood for the rest of the game, so I didn't say anything then, but I planned on telling her everything tomorrow.

A/N I accidentally posted Chapter 3 instead of Drafting it like I wanted to and then @chriss-slutt was so so sweet tonight I decided why not just post the next chapter for her too?

TreeHouse Taglist:

@trevorsgodmother @mintsturniolo @wysmols @chriss-slutt @middlepartmatt @blushsturns @shadowtheism @fratbrochrisgf @forgottxen

This fic is TAGLIST SPECIFIC, meaning in order to be tagged in this, you HAVE to be on the list. I'm doing this because of TRIGGERS.

REBLOG INSTRUCTIONS: I don't mind just please stress the trigger warnings so no backlash comes back to me!

Enjoy Matt and Si cooking 😏😘

[eightfifteen]

I'm reading this book right now and it's as if someone took Every Breaking Wave (my byler fanfic), reshaped it and perfect it. It's so good!!!

If you want something that reads like Stranger Things with a focus on Byler, or if you've simply already read every Byler fic on AO3 and are slowly losing your mind, Don't Let The Forest In by G.C. Drews is a must-read.

Basically it's about these two boys at boarding school who have been friends since they were twelve. Andrew is in love with said best friend, Thomas, and last year something happened with Andrew, which has everyone walking on egg shells around him, but everyone's very vague about it. And on the first day back for senior year, after a summer of almost no contact due to Thomas' abusive parents breaking his phone, it turns out Thomas' parents have gone missing the night before, leaving behind huge amounts of blood, and Thomas as the person of interest.

At the same time, Andrew starts getting visions of monsters hunting him (literally think that scene with Will in the bathroom, and him running from the mindflayer at school).

If you're not convinced yet; when I tell you it reads like Byler I mean it;

The dynamic between Andrew and Thomas, though the character specifics are different, their dynamic is very similar to Will and Mike, with Andrew the quiet introvert, and Thomas the more angry protective one. Though it definitely goes way deeper in ways I can't put into words.

Andrew has a twin sister and is irrationally convinced Thomas is in love with her. (Literally our queen El represent)

Andrew, as mentioned, is having these visions that make him question his sanity, visions that are also very heavily focused on woods and forests. (I swear there's a scene very similar to the panic attack in the forest scene from EBW)

AND Andrew writes and Thomas drawes the monsters from his stories. (ofc will draws and mike writes but that doesn't matter it's THEM if they let them just BE)

It's so adorable yet dark I love it so much. Do yourselves a favor and go grab it from your nearest library (as I did though I'm definitely ordering a hardcover copy once I have the funds).

[thewistlingbadger]

I'm annoyed that the many issues with canon Timebomb due to the rushed way the show handled the pairing have started to seep into the fanfic sphere too - namely, Jinx's mental illness being downplayed, Ekko having no personality, relationships or individual motivations outside of his relationship with Jinx and the Firelights being non-existent.

It's got to the point I actively seek out fics published between S1 and S2 over newer ones. They are more likely to nail Jinx and Ekko's characterisation and their dynamic where even the show's writers couldn't.

As someone who doesn't ship timebomb I completely understand your take and it is VALID. Timebomb as a concept is very interesting because theoretically you have these two childhood friends that lost each other only to be reunited later in life as enemies on opposing sides. That is some really compelling groundwork for a romantic relationship! However, the show doesn't really do anything to actually frame them like this. We rarely get to see Jinx and Ekko interact in the whole show, let alone exchange any dialogue with each other.

The timebomb "content" in season two feels misplaced and undeserved because it IS. The only time we've seen these two actually together in a meaningful way in s1 is their fight one the bridge. That fight made it clear that these two have a history that the audience isn't privy to and this one scene is the entire foundation for arcane! timebomb. Ekko has an entire episode in season two that is NOT dedicated to expanding his character, NOT dedicating to elaborating on his relationship with Jinx, but an episode that is dedicated to exploring an alternative reality where Jinx grew up to be a different person. We spend all this time with Ekko and Powder and then the show acts like their dynamic is somehow transferable to Ekko and Jinx by showing us that somehow when Ekko went back to Jinx he was able to reconcile with her and save her life and get her to fight one last time.

To me this makes no sense because episode 7 really didn't show us anything illuminating about Ekko or his relationship with Jinx. It didn't explain what happened between them, or why Ekko would have romantic feelings for Jinx. We go the whole show without ever actually getting any context as to what happened between them, so the nature of their relationship is truly a mystery. Ekko doesn't go through any major development in that episode, he stays consistent throughout the whole time. Ekko in general is unfortunately a character that goes unexplored throughout the whole show. We don't know much about who he is as a character and his goals, motivations, or reasonings. This same issue occurs with The Firelights. We know they're a group of rebels, but what do they ACTUALLY want and what are their plans to achieve their goals?

Ultimately it was decided that none of this mattered because instead of using the groundwork laid out in season one, season two only had one thing in mind: their end goal. And that end goal consisted largely of fan service, which is why we got a timebomb kiss. Not because it added to Jinx and Ekko's story (the kiss wasn't even between Jinx and Ekko lol) but because the ship is popular and they knew a kiss would make fans happy. A large part of the fandom is very happy with the fan service they received in this season and now they are, predictably, running wild with it. Timebomb has become even more popular than it already was and most of the content is very sweet in nature. I'm glad that shippers are fed and enjoying themselves. However, I cannot look past how the adoration for the ship has made people turn a blind eye to what was established prior to season two. The Firelights are important to Ekko, and Jinx killed many of them over the span of several years. Jinx was born with mental illness and her illness impacted her everyday life. Ekko and Jinx seemingly have a complex history that needs to be unpacked before they can even ATTEMPT to be on good terms again. The last time we saw Ekko and Jinx in s1 they LITERALLY tried to kill each other! This is a relationship that deserves and NEEDS time to be understood.

As for Jinx's mental illness being downplayed? 100% true. In season one Jinx's mental health was vital to the story the writers were trying to tell. They didn't want Jinx to seem like a manic, Joker-type character. They wanted her to be someone the audience would simultaneously pity and fear. But in season two, the end goal was to have Jinx reconcile with Vi and be a hero. To the people behind season two, this wasn't possible without stripping Jinx of everything that made her a fan favorite. Season one was all about rejecting the past and embracing who you truly are and what you've become. Jinx's final action in season one is sitting in the Jinx chair, proclaiming she has changed, and then nuking topside. But in season two, Jinx answers to the name Powder and says "Jinx is dead." In season two, Jinx becomes completely pacified and is no longer a murderous criminal who struggles with daily hallucinations. The erasure of her mental illness and identity has led fans to come to the conclusion that she was never really "that messed up" to begin with, all her problems were because of Silco and now that Silco's gone, she's better. This view is incorrect because we see Jinx have meltdown before she even meets Silco AND arguably Jinx reverting back to Powder isn't inherently a good thing. Powder isn't inherently the "better" version of Jinx. The fact that she even reverts at all goes completely against the message of season one and Silco's dying words, "Don't cry. You're perfect."

[mitigatedchaos]

Revisiting The Origin

Finished watching Mobile Suit Gundam: The Origin again a bit ago. A few thoughts.

The animation quality is fantastic. It's well-shot, written, and paced. The music is spot-on. The plot is moving. It's amazing.

One aspect that stands out more on this viewing is the way each character is intensely his or herself. Every line of dialogue reveals something about the character's nature, and just about none is wasted. The series gives you reasons to sympathize (if only for a little while) with characters like Degwin or Kycillia even though their actions are power-hungry and cause terrible consequences.

Ghiren Zabi especially stands out - he shows an incredibly fluid ability to manipulate ideology, and actually seems to get more skilled at this over time, yet at the same time he's as slippery as an eel. You can easily see how he could get people to follow him, and also how he can figuratively broadcast on the national mental wavelength.

It's actually less political than I remember. For some reason, I thought that there was more content covering the oppression of Spacenoids, the internal factions within Munzo (which became Zeon), and the formation of ideology. There was actually much less oppression of Spacenoids than I remembered, though there is certainly plenty of rioting and sending tanks to suppress riots.

That said, the series is still highly political. This gets into the whole 'politics in media' thing.

The Origin is a sequence of events leading up to a gigantic space war, proceeding through the early phases of the war until right before the first episode of the original 1979 Mobile Suit Gundam (though with a few tweaks). It's a thrilling story of escapes and intrigue and murder and violence!

However, it all generally feels quite natural. A mobile suit may be an absurd form of military unit, but other than this, everything has its proper weight and momentum. It's a story told with great consideration, by someone observant and experienced.

I originally wrote that last line as a guess based on watching the series. The eye with which the author observes the characters suggests a great deal of life experience, and an understanding of individuals, their nature, and their course of development. In fact, there was an interview of the now 77-year-old author Yoshikazu Yasuhiko, who was on the staff for the 1979 original:

It was over 10 years of hard work, but I could depict the outbreak of the war in the prehistory of 'Gundam' and the absurdity of the elitism advocated by the Principality of Zeon to some extent.

He appears to believe that the idea of newtypes was over-emphasized in later series after 1979, resulting in confusion and support for elitism.

Just watching five minutes of one episode of The Origin was enough to help a concept click in a peace theory I have been working on. I don't mean a related episode. I had left it on pause a week or so before, and when I returned, after a few minutes of watching Char and his comrades, it came to me that I could reapply the tension and officer models that I use for ideology.

The Origin has an interesting contrast with Mobile Suit Gundam Unicorn, another incredibly dense series set in the Universal Century, set sixteen years after the war that The Origin shows us the beginning of.

Where in The Origin, newtypes are of relatively little importance, in Unicorn, they take center stage. Where The Origin is a story told by an old man who cherishes people, Unicorn shouts at you as loudly as it can. So loudly that it fills your senses. So loudly that you can finally hear.

Between the two, it's my opinion that Unicorn is more dense. I found myself coming back to watch different scenes repeatedly, pause, and then pace and think deeply about the nature of the world.

I recommend both highly. However, I don't know what it would feel like to see either while having no familiarity with the Universal Century timeline.

There was an argument on Twitter probably a year or so ago. Is fiction valuable? I think that depends on which fiction we're talking about, at what time, for whom, and for what purpose.

[forgettable-au]

Hi !! I was wondering if there was any song that you associate with Forgettable AU ? Hope you'll have a good day!!

EHEHE YEAH

Okay so, I was trying to choose ONE but I can't cause there's like sooo many, I have a whole playlist (THAT IS A MESS, SO I'M PROBABLY NOT GOING TO SHARE THAT)

But, uhh, lately I've been super obsessed with "Slipping through my fingers" by ABBA and it reminds me SO much of this AU, specifically of Sans, and it makes me sad

I am going to make an animatic with that song one day!! I promise!! Cause it was one of the songs that inspired me to make the AU on the first place... the angst........

[articskele]

Thinking about....... Sun Onceler.........

[bonebabbles]

wait im sorry. ive never read past the first book of dotc and all my knowledge of it really just comes from your blogs. wh. why did the erins decide to include sexual violence in warriors? like. that seems a little. too much? like all im hearing of dotc is just. terrible shit. i like reading more angst/serious stuff (i wanna say darker but not in the way "dark media" usually means on this site) but this feels like WAYYY to much for a book series meant for kids....... what were they thinking??

I legitimately do not understand what people like about DOTC. You can go back to where I started this re-read, and you can visibly watch my charitability drain as the project goes on.

It feels like literally everything that people say they like about this arc is not there, while they've completely forgotten or misremembered SERIOUSLY awful shit

And now, listen. I'm a huge fan of xenofiction, which is a genre that is full of kid's and teen's media, but I do love more adult fiction. I love nuanced themes, dark subjects, and complicated plots.

DOTC's message is just plain odious. None of what it sets out to say is worth saying, and it's borderline incompetent at even saying it to begin with.

What they want to say with Clear Sky and Slash is that Clear Sky isn't "evil." He's a "fundamentally good person," and all of his intentions were good, so he learned a valuable lesson from all the abuse and murder. To say this, they CONTRAST him to Slash, a REAL evil person, who just loves hurting kids and harassing women. Clear Sky is good because he is not "real evil" like this fake, cartoon caricature we just made up.

There was absolutely zero need for them to write Slash the way they did. They really want you to be distressed for Clear Sky as his wife is assaulted in front of him and hauled off while kicking and screaming, and they decided the best way to do that was pregnant woman pinning face licking. Sexual violence is an easy way to disgust and anger an audience, simple as that.

As a kid you may not realize how messed up it is (though the asks I get on this blog are a testament to how many kids did, but didn't have the words to express their discomfort) but as an adult with your critical thinking on? It hits different.

[holy-mary-mother-of-joseph]

I have some words about this idea.

First of all, I don't mean to go around saying "No, that can't happen" or "Your opinion is trash" or something along those lines. I just want to give my own opinions on this topic, honest and simple, take it or leave it.

Idk, I guess this is some slight spoiler territory? I'll put a border just in case.

Personally, I don't think Luke potentially appearing at the end could be compared to "Andor" for a number of reasons.

Firstly, "Andor" was specifically created to lead directly into "Rogue One". "Skeleton Crew" has so far been entirely its own thing with absolutely minimal tie-ins to other projects (like the New Republic X-Wing patrols and the rise of pirates) and minimal cameos (they could have easily shoed in Carson Teva or Zeb, or somebody like that). Vane is pretty much the only previously established character who has appeared and I personally don't find that problematic because it's not impossible to imagine a minor character like him to be hopping from crew to crew to make a living in the aftermath of "Mando" season 3.

As such, I think "Skeleton Crew" deserves a conclusion that is unique to itself, devoid of any immediate intermeddling of big names that honestly won't even lead into anything. Having Luke appear would be a neat cameo, but other than that, it would serve no purpose and honestly would even be detrimental to the entire build-up so far. The only real pay-off I can think of would be Wim finally meeting a real Jedi in the flesh, but other than that, there is basically nothing that has been set up so far that could justify Luke's presence. Nobody is seeking a Jedi mentor, nor has the threat of piracy become so apparent to the New Republic that they're considering bringing in their most powerful ally to deal with it.

Furthermore, as far as we know, the kids and SM-33 are the only ones who are actually aware that Jod is Force-sensitive. Nobody else so far has suggested that they know anything about that, not his crew, not his previous acquaintances. Therefore, it is unlikely Luke would even know about him at all since the last two times that we've seen/heard of him take up a pupil, one was dialing him directly through the Force and the other was his nephew.

Having said that, I do agree that having some sort of tie-in to a future story could be interesting, if it has a valid pay-off. Considering At Attin is the last Old Republic credit production planet, it isn't unlikely that it might become a key asset in the New Republic's development or even Thrawn's return.

So now that I've laid out those arguments, how do I find it justifyable to put a scene of building a piece of the Death Star in a series about the guy who will eventually steal the Death Star plans? Other than foreshadowing and fan service? We get to see just how much the Empire is desperate to manage and control every aspect of its populace, all the way down to having its criminals, big and small, rebels and jaywalkers, become nothing more than tiny, determined, replaceable cogs which build up its massive war machine amd how that despair eventually leads to it's downfall, both in the series with the impossible prison break and eventually with the destruction of the Death Star.

Plus the irony that Cassian is helping in the construction of something so monumental he will eventually help destroy, but I guess that can already fall under foreshadowing.

Now that Jod is decidedly proven to be a ruthless, Force using pirate who now has a lightsaber, it’s possible that Luke could show up in the finale. And if he does, I don’t want to hear ANY cries about fan service or overuse, because A) Luke has appeared in precisely two episodes of any live action shows (not counting young Luke in Obi Wan), and he was the most underutilized character in the sequels (apart from Lando) and the one who suffered the most character assassination. He sure as hell hasn’t been over utilized; and B) it makes as much in-universe sense for the last Jedi Master in the Galaxy to be interested in a Force sensitive ruthless pirate with a lightsaber who is on the trail of a long lost Old Republic planet that could potentially have Jedi relics hidden somewhere on the surface (and to have heard of it through his New Republic contacts in regard to underworld/Imperial Remnant buildup) as it does for a main member of the strike team to steal the Death Star plans to have once been put to work by the Empire building panels for the Death Star superlaser while in prison for jaywalking.

[inklings-sprint]

I just had a thought about something that could be interesting and/or fun. Not something necessarily for this year, but it's still early enough that you could still do such.

But now that we all have our teams, it would be neat if there was a story that had multiple parts that were contributed by people on the same team. I know it's not a team challenge like that, but it would be kind of interesting to see.

[jasontoddstherapist]

PSA |

Yes this is a Jason Peter Todd centric blog, but it's also 100% supportive of Talia al Ghul. There will be no slander here. No perpetuating of the racist, misogynistic bullshit that drove the narrative divebomb of her character.

[fingertipsmp3]

Ughhhhhhh I hate writing and I hate not writing and I hate myself