#i think my problem is that i have too many scenes i want to write and i want to write it perfectly

[deeplyshalllow]

Hi,

I absolutely love your posts on Fiyeraba scenes in the Wicked movie! I wanted to ask and this is just a thought I had but do you think Fiyero heals Elphaba with his acceptance of her appearance and as a person, because her major trauma stems from her father's rejection at her birth cause you hear "take it away" at many points throughout pivotal moments. Now that I think about it, her friendship with Glinda could be represented as a version of Elphaba's dynamic with Nessa where the sisters love each other but Nessa never protects Elphaba the way she does.

What are your thoughts on this?

Keep up the great content!!! 😃

Firstly, I am so sorry it's taken me this long to reply! It's been on my to do list all week but Pre Christmas and work and the need to also write a 3500 word essay on the Lion Cub scene, has made it hard for me to find the time to write a proper answer.

Short answer: I agree.

Long answer: I think Elphaba is hugely damaged by the way her father treats her. I think she has been othered all her life, including by the people who should love her and she so desperately loves. And a lot of this presents itself both in doing anything for them, even when it personally hurts her, and almost deliberately making sure everyone else sees her as a person as "ugly" as her green skin. Because, if she does that, she doesn't end up finding other people whom she loves who don't love her back or betray her, as she says in the Lion Cub scene, she sees it as an issue that she "cares so much".

There's actually three people at Shiz who really challenge Elphaba's view of the world.

Firstly, Doctor Dillamond, who shows her kindness and also regards her as a friend. But it is important to note that he is also othered, Elphaba's fight for the Animals is to some degree because she sees herself in them, she wants them to be able to fit in in a way she never has had. She empathises and her bond with Doctor Dillamond is stronger because they both share similar problems.

Galinda and Fiyero are the first, I think, to get Elphaba out of her shell. They are the ones who love her for who she is, nothing to do with her green skin, and yes, I do think it's healing. She's let down her mask of defensiveness and discovered that people do like her for what's underneath! There is a moment in the movie, when everyone is cheering Elphaba off at the train station where I thought "ok, they could just end the story here and it's the most heartwarming, happy ending for Elphaba" and obviously it's tragic that this is never to be.

Interestingly, I think Elphaba initially regards Morrible and the Wizard as people who see her for who she is too. Morrible because she's very motherly and values Elphaba when she wants to use her for her power (especially in the movie), and the Wizard because Elphaba has grown up believing him in an almost God like way - being so sure he will understand and know best. So that it is ultimately them that betray her hits her very hard.

Which leads to Defying Gravity and Act 2. Where, unfortunately, a lot of this healing for Elphaba is reversed. She's betrayed by Morrible, the Wizard (and to an extent Glinda) when she's condemned as a Wicked Witch, people still judge her for the colour of her skin. She does fight to do what is right, but she does it while sacrificing herself, what she wants, who she loves, what will make her happy - what she had been doing her entire pre Shiz years for Nessa.

There are so many heartbreaking lines in act two where we see how hurt Elphaba is by losing people she trusted or cared about:

"Boq, it's just me, I'm not going to hurt you!"

"Nessa, I have done everything I could for you but it has never been enough and it never will be"

"Don't you think I wish I could? That I could go back to the time when I believed you really were wonderful? The Wonderful Wizard of Oz? Nobody believed in you more than I did."

"Fiyero, not you too," (though obviously this one gets very quickly resolved)

"I can't believe you would sink this low! To use my sister's death as a trap to capture me?!"

So, when we get to As Long As You're Mine, and the scene afterwards, I think Fiyero does attempt heal her, and I do think it does good, but there's also this line:

Elphaba: I wish I could be beautiful... for you. Fiyero: Elphaba... Elphaba: Don't tell me that I am, you don't need to lie to me.

Elphaba's wounds cut deep. And, if I'm honest, I'm not sure she's ever going to be fully healed.

I do think the end of the show, Elphaba passing the task of helping Oz onto Glinda, of being able to go with Fiyero and live a life for themselves is a way to heal. She's given so much of herself to her cause, because she doesn't really value herself as a person, Fiyero - who loves her for who she is and will do anything for her including laying down his life, lets her finally do something for herself that makes her happy. And likewise Glinda, though she doesn't necessarily know it, carrying on her legacy, means Elphaba no longer has to worry about leaving the fight - she knows Oz is in safe hands.

Through the two people she loved the most, by the finale Elphaba might finally be able to heal.

Also, as I have nowhere else to put it: I think her father's treatment of Nessa also fucks Nessa up. I know they're going to change it for the movie, as it's seen as ablest (and I don't want to say it's not as I have a friend who literally has a Doctorate in disability history who sees it as ablest too) but I've always seen the fact that Nessa thinks her chair as a curse as an attitude driven by her father. Her father, in blaming Elphaba for Nessa's disability and coddling Nessa because of it, has always made Nessa feel like it's her defining trait and it's something wrong with her. This has led Nessa to both treat Elphaba as if she owes her something, but also believe her life would be perfect if she could walk - a belief that is brutally smashed in Act 2 when she is given the ability to walk.

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[fingertipsmp3]

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

[automatic-midnight]

My biased, really unpopular take is that I think rit/su/maya is an objectively boring ship.

[leftmysoulbythesideoftheroad]

i like writing trans characters, but i also only write third-person limited perspective, so there's often a moment where i have to ask, is there a way to introduce this character without using pronouns until dialogue gives me a chance to gender them correctly, or do i allow my mc to unintentionally misgender them in the narrative?

my decision has pretty much been to allow my characters to be psychic in this one very specific way and never address it. because rules are fake anyway.

[tboy-boone]

i don't know if i'll post this fic but ouguuguhuhuh i'm tired of working on it. but i don't work on it, i'll have to do other things i really don't want to do

[derinwrites]

The Three Commandments

The thing about writing is this: you gotta start in medias res, to hook your readers with action immediately. But readers aren’t invested in people they know nothing about, so start with a framing scene that instead describes the characters and the stakes. But those scenes are boring, so cut straight to the action, after opening with a clever quip, but open in the style of the story, and try not to be too clever in the opener, it looks tacky. One shouldn’t use too many dialogue tags, it’s distracting; but you can use ‘said’ a lot, because ‘said’ is invisible, but don’t use ‘said’ too much because it’s boring and uninformative – make sure to vary your dialogue tags to be as descriptive as possible, except don’t do that because it’s distracting, and instead rely mostly on ‘said’ and only use others when you need them. But don’t use ‘said’ too often; you should avoid dialogue tags as much as you possibly can and indicate speakers through describing their reactions. But don’t do that, it’s distracting.

Having a viewpoint character describe themselves is amateurish, so avoid that. But also be sure to describe your viewpoint character so that the reader can picture them. And include a lot of introspection, so we can see their mindset, but don’t include too much introspection, because it’s boring and takes away from the action and really bogs down the story, but also remember to include plenty of introspection so your character doesn’t feel like a robot. And adverbs are great action descriptors; you should have a lot of them, but don’t use a lot of adverbs; they’re amateurish and bog down the story. And

The reason new writers are bombarded with so much outright contradictory writing advice is that these tips are conditional. It depends on your style, your genre, your audience, your level of skill, and what problems in your writing you’re trying to fix. Which is why, when I’m writing, I tend to focus on what I call my Three Commandments of Writing. These are the overall rules; before accepting any writing advice, I check whether it reinforces one of these rules or not. If not, I ditch it.

1: Thou Shalt Have Something To Say

What’s your book about?

I don’t mean, describe to me the plot. I mean, why should anybody read this? What’s its thesis? What’s its reason for existence, from the reader’s perspective? People write stories for all kinds of reasons, but things like ‘I just wanted to get it out of my head’ are meaningless from a reader perspective. The greatest piece of writing advice I ever received was you putting words on a page does not obligate anybody to read them. So why are the words there? What point are you trying to make?

The purpose of your story can vary wildly. Usually, you’ll be exploring some kind of thesis, especially if you write genre fiction. Curse Words, for example, is an exploration of self-perpetuating power structures and how aiming for short-term stability and safety can cause long-term problems, as well as the responsibilities of an agitator when seeking to do the necessary work of dismantling those power structures. Most of the things in Curse Words eventually fold back into exploring this question. Alternately, you might just have a really cool idea for a society or alien species or something and want to show it off (note: it can be VERY VERY HARD to carry a story on a ‘cool original concept’ by itself. You think your sky society where they fly above the clouds and have no rainfall and have to harvest water from the clouds below is a cool enough idea to carry a story: You’re almost certainly wrong. These cool concept stories work best when they are either very short, or working in conjunction with exploring a theme). You might be writing a mystery series where each story is a standalone mystery and the point is to present a puzzle and solve a fun mystery each book. Maybe you’re just here to make the reader laugh, and will throw in anything you can find that’ll act as framing for better jokes. In some genres, readers know exactly what they want and have gotten it a hundred times before and want that story again but with different character names – maybe you’re writing one of those. (These stories are popular in romance, pulp fantasy, some action genres, and rather a lot of types of fanfiction).

Whatever the main point of your story is, you should know it by the time you finish the first draft, because you simply cannot write the second draft if you don’t know what the point of the story is. (If you write web serials and are publishing the first draft, you’ll need to figure it out a lot faster.)

Once you know what the point of your story is, you can assess all writing decisions through this lens – does this help or hurt the point of my story?

2: Thou Shalt Respect Thy Reader’s Investment

Readers invest a lot in a story. Sometimes it’s money, if they bought your book, but even if your story is free, they invest time, attention, and emotional investment. The vast majority of your job is making that investment worth it. There are two factors to this – lowering the investment, and increasing the payoff. If you can lower your audience’s suspension of disbelief through consistent characterisation, realistic (for your genre – this may deviate from real realism) worldbuilding, and appropriately foreshadowing and forewarning any unexpected rules of your world. You can lower the amount of effort or attention your audience need to put into getting into your story by writing in a clear manner, using an entertaining tone, and relying on cultural touchpoints they understand already instead of pushing them in the deep end into a completely unfamiliar situation. The lower their initial investment, the easier it is to make the payoff worth it.

Two important notes here: one, not all audiences view investment in the same way. Your average reader views time as a major investment, but readers of long fiction (epic fantasies, web serials, et cetera) often view length as part of the payoff. Brandon Sanderson fans don’t grab his latest book and think “Uuuugh, why does it have to be so looong!” Similarly, some people like being thrown in the deep end and having to put a lot of work into figuring out what the fuck is going on with no onboarding. This is one of science fiction’s main tactics for forcibly immersing you in a future world. So the valuation of what counts as too much investment varies drastically between readers.

Two, it’s not always the best idea to minimise the necessary investment at all costs. Generally, engagement with art asks something of us, and that’s part of the appeal. Minimum-effort books do have their appeal and their place, in the same way that idle games or repetitive sitcoms have their appeal and their place, but the memorable stories, the ones that have staying power and provide real value, are the ones that ask something of the reader. If they’re not investing anything, they have no incentive to engage, and you’re just filling in time. This commandment does not exist to tell you to try to ask nothing of your audience – you should be asking something of your audience. It exists to tell you to respect that investment. Know what you’re asking of your audience, and make sure that the ask is less than the payoff.

The other way to respect the investment is of course to focus on a great payoff. Make those characters socially fascinating, make that sacrifice emotionally rending, make the answer to that mystery intellectually fulfilling. If you can make the investment worth it, they’ll enjoy your story. And if you consistently make their investment worth it, you build trust, and they’ll be willing to invest more next time, which means you can ask more of them and give them an even better payoff. Audience trust is a very precious currency and this is how you build it – be worth their time.

But how do you know what your audience does and doesn’t consider an onerous investment? And how do you know what kinds of payoff they’ll find rewarding? Easy – they self-sort. Part of your job is telling your audience what to expect from you as soon as you can, so that if it’s not for them, they’ll leave, and if it is, they’ll invest and appreciate the return. (“Oh but I want as many people reading my story as possible!” No, you don’t. If you want that, you can write paint-by-numbers common denominator mass appeal fic. What you want is the audience who will enjoy your story; everyone else is a waste of time, and is in fact, detrimental to your success, because if they don’t like your story then they’re likely to be bad marketing. You want these people to bounce off and leave before you disappoint them. Don’t try to trick them into staying around.) Your audience should know, very early on, what kind of an experience they’re in for, what the tone will be, the genre and character(s) they’re going to follow, that sort of thing. The first couple of chapters of Time to Orbit: Unknown, for example, are a micro-example of the sorts of mysteries that Aspen will be dealing with for most of the book, as well as a sample of their character voice, the way they approach problems, and enough of their background, world and behaviour for the reader to decide if this sort of story is for them. We also start the story with some mildly graphic medical stuff, enough physics for the reader to determine the ‘hardness’ of the scifi, and about the level of physical risk that Aspen will be putting themselves at for most of the book. This is all important information for a reader to have.

If you are mindful of the investment your readers are making, mindful of the value of the payoff, and honest with them about both from the start so that they can decide whether the story is for them, you can respect their investment and make sure they have a good time.

3: Thou Shalt Not Make Thy World Less Interesting

This one’s really about payoff, but it’s important enough to be its own commandment. It relates primarily to twists, reveals, worldbuilding, and killing off storylines or characters. One mistake that I see new writers make all the time is that they tank the engagement of their story by introducing a cool fun twist that seems so awesome in the moment and then… is a major letdown, because the implications make the world less interesting.

“It was all a dream” twists often fall into this trap. Contrary to popular opinion, I think these twists can be done extremely well. I’ve seen them done extremely well. The vast majority of the time, they’re very bad. They’re bad because they take an interesting world and make it boring. The same is true of poorly thought out, shocking character deaths – when you kill a character, you kill their potential, and if they’re a character worth killing in a high impact way then this is always a huge sacrifice on your part. Is it worth it? Will it make the story more interesting? Similarly, if your bad guy is going to get up and gloat ‘Aha, your quest was all planned by me, I was working in the shadows to get you to acquire the Mystery Object since I could not! You have fallen into my trap! Now give me the Mystery Object!’, is this a more interesting story than if the protagonist’s journey had actually been their own unmanipulated adventure? It makes your bad guy look clever and can be a cool twist, but does it mean that all those times your protagonist escaped the bad guy’s men by the skin of his teeth, he was being allowed to escape? Are they retroactively less interesting now?

Whether these twists work or not will depend on how you’ve constructed the rest of your story. Do they make your world more or less interesting?

If you have the audience’s trust, it’s permissible to make your world temporarily less interesting. You can kill off the cool guy with the awesome plan, or make it so that the Chosen One wasn’t actually the Chosen One, or even have the main character wake up and find out it was all a dream, and let the reader marinate in disappointment for a little while before you pick it up again and turn things around so that actually, that twist does lead to a more interesting story! But you have to pick it up again. Don’t leave them with the version that’s less interesting than the story you tanked for the twist. The general slop of interest must trend upward, and your sacrifices need to all lead into the more interesting world. Otherwise, your readers will be disappointed, and their experience will be tainted.

Whenever I’m looking at a new piece of writing advice, I view it through these three rules. Is this plot still delivering on the book’s purpose, or have I gone off the rails somewhere and just stared writing random stuff? Does making this character ‘more relateable’ help or hinder that goal? Does this argument with the protagonists’ mother tell the reader anything or lead to any useful payoff; is it respectful of their time? Will starting in medias res give the audience an accurate view of the story and help them decide whether to invest? Does this big twist that challenges all the assumptions we’ve made so far imply a world that is more or less interesting than the world previously implied?

Hopefully these can help you, too.

[pusselwrites]

a fourth of the way through my camp nano project!! a bit behind but that's okay! had a great writing session just now! wrote an entire day's worth of words for a normal 50k nano so im feeling very accomplished

[lurochar]

Mommy

Not me being persistently sick for like two and a half weeks now 🤧 (yes, my immune system is crap).

But anyway, please enjoy my delirious writings~

----------------------------------------------

It was a rare, once-in-a-blue-moon occurrence; it was something that one usually never lived to witness. 

Alastor rendered speechless, that is.

Other than a loud record scratch that certainly was not pleasant on the ears by any means, the deer demon did not respond audibly in any other way.

It seemed all he could do was tilt his head to a rather uncomfortable-looking angle and stare at you with furrowed brows and a strange strained smile you had never seen before stretch across his darkening face.

It looked as though he wanted to say something, but the tense silence continued without a word coming forth from his lips.

It would seem it was up to you the–

“Boss, Boss!” The only remaining Egg Boi, Frank, waves enthusiastically. “Have you come to get a snuggle from Mommy too?!”

                                    .

                                    . 

                                    .

What.

What did that wretched cretin just call his Darling?

“Woah!” You quickly reacted before Alastor simply blew up the poor creature into a million little egg shell pieces and picked up Frank to hold against your chest, much to Alastor’s obvious ire. “Just… just calm down, please? He doesn't know what he's saying!”

Alastor’s expression twitches and not much else.

“Frank is all that's left of Sir Pentious after he…” You sighed, thinking back to the battle with Adam and the Exorcists. “So for his memory, shouldn't we take good care of Frank for him?”

Alastor watches the scene before him with a growing smile that's becoming more and more unhinged while eerie glowing green sigils slowly start to pop in the air surrounding him and his antlersstarttogrowandhispupilsarestartingtochangeshap–

He's starting to lose control the second ‘Frank’ bounces in excitement in your arms (against your soft breasts. ₮ⱧØ₴Ɇ ₩ɆⱤɆ Ø₦ⱠɎ ₣ØⱤ Ⱨł₥ ₮Ø ₮ØɄ₵Ⱨ) as you hug him softly.

“You're so warm, Mommy! You could hatch so many eggs!” Frank gasps, not feeling the murderous intent just feet away from him. “Could you hatch me some more brothers and sisters?! I don't know where mine went off to!”

You only give a nervous chuckle as an answer, glancing back to Alastor. “It's just for a few days.” You sigh. “At least until Charlie and Vaggie figure out what to do with him.”

Alastor slowly regains control, eyeing Frank with clear distaste as it cuddled up happily in your chest. He hadn't had too much of a problem with the egg creatures up until now – hell, he had even benefitted from them before.

But now…

“Where are you going?” You blinked, a bit taken back as Alastor simply walked past you, now humming joyfully. You never thought he would give in so easily…

“To the kitchen, I'm famished. Won't you join me, Darling?” Alastor’s eyes flash with a dark mischievousness. “I'm suddenly in the mood for scrambled eggs.”

Yeah, seems he wasn't over it.

“Let us just hope there won't be any… accidents in the kitchen today, won't we, Darling?

At all.

[blackknight-kai]

Just Busty things:

This is a Drabble about that hot as fuck way too detailed bust. You know the one 🫵.

(Edit: I am writing this fic 👀)

The “life size” bust of Sun Wukong from the video game attracts his dormant spirit- you bought it / go a hold of it. (Somehow you have it!)

You’d activated his spirit because like a weirdo you kissed the damn thing once - just for fun. You couldn’t help it and giggled to yourself as you did it because “haha I kissed Sun Wukong”. (You’ve been into Sun Wukong so your attraction and ‘want’ magically do something here).

After doing so you don’t notice as its glass eyes follow you as you walk around your living room. (Ngl I was thinking a bit of a horror scene for this so…idk if Wukong is ‘good’ or ‘yandere’ here up to you).

He knows you don’t notice and makes sure to look normal if you happen to look at him. Over time he gets to know you through those glass eyes watching you, those ears listening as you talk to your friends on the phone or mumble to yourself. Starts to fall for you (because duh). You walk around naked or with little clothes on in front of him - he’s a bust and you live alone.

You kiss him a few more times- surprising the ever loving shit out of him because, why are you giving a bust chaste kisses????? Each time bringing him more and more to life / animating his face.

Which you don’t realize is happening because giving his bust a goodbye kiss or I’m home kiss has now become habit. Good night/morning kisses too! Because whos gonna know? You even pet the fur on the side of his face and sigh, tell him how handsome he is or sometimes you talk to him like you’re talking to someone else. You aren’t crazy, just talking through your own problems or issues and you know the bust isn’t gonna answer- it’s like talking to a house pet. Even call him your “boyfriend” jokingly or tell your friends “I miss my husband” as a joke when you’re out with them.

What you don’t know is the more you treat that bust like it’s a real thing (joking or not) and bestow your feelings on it, Wukong’s spirit is able to start manipulating it and manifesting it to come to life, eventually while you are gone for the day he’s able to magic up the rest of his body. He doesn’t reveal himself right away, no. He fiddles with the stuff in your home and learns things about you / this world while you are out. If you notice things out of place, you DONT. Because you do not want to think your house is haunted.

You’re in for a surprise. 😈

(There are so many ways he could reveal himself, while you kiss him he kisses you back, waiting for you on the couch in his full animated now REAL body, crawls in bed with you one night - this one is a darker thought so…moving on, talks back to you when you tell his ‘bust’ about your day, just so many things his mischievous ass could do.)

[dia-souls]

DIABOLIK LOVERS Imajin Tokuten Drama CD “Kawaii Plushie, Fanboys' Confusion!!!”

Original title: かわいいぬいぐるみ、ファンボーイの混乱

Source: Fanmade Tokuten Drama CD

Story by: Admin Afra

Seiyuu: Suegara rie, Midorikawa Hikaru, Toriumi Kousuke, Katsuyuki Konishi, Takashi Kondou, Tomoaki Maeno, Hirakawa Daisuke, Kaji Yuki,

Admin's note: Hey guys Finally, after a long time, a new drama CD by me Admin Afra. Who misses me??? Lol... Although I can't write comedy CDs and scenarios as well as Admin Irsa. But recently, my headcanon for plushie Yui has been very much noticed. That's why I decided to try this CD for this headcanon. If you like it, I will write Mukami and Tsukinami versions soon. This Sakamaki version is presented to you. I hope you like it. Don't forget to review and comment.

_This scene begins in the living room of the Sakamaki mansion. The triplets are watching Kou on a TV show.

Ayato: Why is that stupid idol in all the shows? I'm getting bored.

_Ayato changes the channel.

*Tap Tap*

Kanato: Ayato... can you please choose a channel and let us all watch it?

Ayato: Shut up!!!! Do not order Ore-sama. Ore-sama will watch whatever he likes. I don't want to see the face of that stupid idol on all channels.

_Ayato changes the channel again.

*Tap Tap*

Laito: You are right, Ayato-kun. I am much prettier. If I were an idol, I would have more fans than him. They probably showed me on more channels.

Ayato: If I saw you on TV, then I would blow up the TV.

Kanato: Me too...

Laito: Heeh... don't be so cruel. I'm sure more girls would be my fans.

_Ayato turns off the TV.

Ayato: I don't understand why there are so many channels and TV shows for girls. Why don't they make a TV show for boys? For example, the takoyaki eating contest.

Kanato: Ayato, no boy wants to watch such a show. Only you like it.

Laito: Hmmmmm. I don't like to see some boys with big mouths eating takoyaki. Even thinking about it makes me sick. I prefer to see cute and beautiful girls.

Kanato: There are idol girls too, Laito.

Laito: I know, but none of them can make my heart beat fast like Bitch-chan.

_Ayato swears under his breath.

Ayato: Chhh... Stupid pervert...

_Laito takes the TV remote from Ayato's side and turns the TV back on.

*Tap Tap*

_Laito changes several channels to a plushie advertisement.

Laito: Is that plushie... bitch-chan's plushie???

_Both Ayato and Kanato stare at the TV after hearing this. The TV is promoting the popular school club girl named Komori Yui.

Ayato: What the hell. Chichinashi???? Since when has Chichinashi been famous?

Laito: School club??? Ahhh, now I remember. A few months ago, bitch-chan said she wanted to join a school club. Hmmm, apparently, she is very popular among the boys in the club.

Kanato: IT'S UNFORGIVABLE. How dare that girl participate in the club without my permission? *SOB*.... I.... won't forgive her... *SOB*...

Ayato: That idiot... how dare she go out with other boys without Ore-sama's permission? When I see her, I will punish her.

Laito: Hmmmmm... I'm very sad to see that my dear bitch-chan has become popular with all these boys. She just needs to pay attention to me.

Shu: Pwaahhhhhhh.... can you shut up. Didn't you say just a few seconds ago that you want a TV show for boys? So why are you complaining now?

_Ayato, Kanato, and Laito flinched at Shu's voice.

Ayato: Waaahhhhh... Shu what the hell. What the hell are you doing here? When did you come here?

_Shu was lying on the couch and yawned.

*Rustle Rustle*

Shu: I was here from the beginning. You three idiots did not notice my presence.

Ayato: Shut up. You are always like this. Wherever you go, you sleep without talking to anyone. Obviously, no one will notice your presence.

Shu: Shut up... it's too loud. My ear hurt.

Ayato: Bastard...

_Shu opened one of his eyes and looked at the TV advertisement that was playing.

Shu: Hmmm... interesting... maybe I'll buy one for myself.

Ayato: Hahaha... don't tell me you like this ugly doll.

Shu: What's the problem with it? I can use it as a pillow. This way, when she is not with me, I can have her by my side.

Ayato: ...

Laito: ....

Kanato: ... I can't believe that this lazy man came up with such a good idea.

Laito: Nfu... that's a good idea. I would really like to have another version of Yui-chan too. In this way, I can do whatever I want with it.

Kanato: Fufu... Yes, Teddy will also be happy to have a new friend. Ne teddy I can dress up it like dolls to make it the most beautiful doll in the world.

Ayato: Tch... you two are very childish.

Laito: Come on Ayato. Wouldn't you like to have a small version of Bitch-Chan? Whenever Yui-chan is not with you, she can make takoyaki for you.

Ayato: Huh??? Can it really do that?

Shu: You are so stupid.

Ayato: Shut up. I have to try it myself, otherwise I don't believe it.

Laito: Nfu~ So let's go to that store and buy this cute plushie.

*TIMESKIP*

_Ayato, Laito and Kanato are walking in the store.

Ayato: Shit... why is it so crowded here?

Kanato: I can't stand people's noise. It's so noisy.

Laito: You two are very impatient. Nfu~ Be patient and then we'll go home with that cute plushie.

???: Oh my... KarlHeinz's sons are in the fanboy store. Hahaha... what a funny subject.

*click click*

_The triplets look behind them when they hear a familiar voice.

Ayato: Haaaaa..... Kino!!!! what are you doing here?

Kino: Isn't it obvious? I came looking for my dear princess. She is not with you?

Ayato: Who said she's yours? She is only my prey. Chichinashi is not with us.

Kino: Huh? what a pity I wanted to go like a lovely couple and buy that cute plushie.

Kanato: Did you come here for the plushie?

Kino: Of course. She is my lovely princess and I am her prince.

Ayato: Don't talk nonsense.

Kino: I myself encouraged her to participate in this club. They were looking for cute and beautiful girls to support animals. My dear princess was so cute and tried for animals that she quickly became popular among the boys. I'm thinking that my princess should have become a famous idol instead that Mukami.

Laito: Although I don't like you, I agree with you. But I don't want to share my beloved Bitch-chan with other boys.

Kino: In any case, this promotion is for promoting this club and because of Yui's new popularity. In addition to boys, she has become very popular among girls.

_A person with a black cape, hat, mask and glasses that completely covers his face enters the store.

Ayato: Hah... Thief...

Laito: Nfu~ He isn't a thief. He is only a shy fanboy who doesn’t like to be known at all.

Kino: Scary. Some fans are very scary.

_The suspicious man buys a plushie and quickly leaves the store.

Kanato: Heyyyyyyyy. I want to leave this store faster.

Kino: I also don't like to see other boys buy my dear princess plushie.

_Ayato goes in front of Kino and grabs his collar tightly in his fist.

*Rustle Rustle*

Ayato: Listen, bastard. I will not let you buy that plushie at all. Chichinashi is only my prey.

Kino: Fufu Ayato-kun, if you think like that... you should stop all those boys who are standing in front of the cash register buying plushies.

_Kino points to the counter and Ayato turns his head to look there. A group of boys lined up in front of the cash register to buy plushies.

Ayato: Chhh... you bastards...

_Ayato quickly releases Kino's collar and goes to stand in front of the cash register in front of all the boys.

Ayato: Everyone listen.

_Ayato takes the speaker from the vendor and speaks through it.

Ayato: Ore-sama is speaking. Get out of the store, you bastards. This girl is my prey and no one but me has the right to buy this plushie.

_All the boys and vendors stare at Ayato.

Ayato: Did you hear what I said? Ore-sama will give you orders. Hurry up and get out of the store

Kanato: Is he serious?

Laito: Oh, oh. I think we are going to be in trouble.

Kino: Pffff.... Hahahahaha.... Your brother is so stupid.

Kanato: Laito. Let's buy the plushie and go before it causes us trouble.

_Laito and Kanato go to the group of boys so that the seller won't notice that they are with Ayato.

Ayato: Oi, Kanato, Laito, why did you go to them? Let's help me get rid of these bastards.

Kino: Hmmmm. Things are getting interesting.

*TIMESKIP*

Ayato: Chhh... Ahhhhh... How is the security of that store so strong? The place where he kicked me still hurts.

Kanato: You are so stupid, Ayato.

Ayato: Shut up. It's your fault that you didn't help me, otherwise we would have kicked out all those bastards.

Laito: Shame on you, Ayato-kun... I don't like being beaten by security at all. My beautiful face becomes scarred and I become ugly.

Ayato: You are so pathetic Laito...

_Kino walks behind them while laughing under his breath.

Ayato: You bastard... why are you laughing at us? You got what you wanted. Why are you following us?

Kino: Oh... Ayato-kun don't be so mean. I would like to see my dear princess.

Ayato: Shut up. I won't let you see her.

Laito: At least we could all buy plushies.

Kino: Too bad. I wanted to see my dear princess. But I think it doesn't matter. I will call her when I get home. I can't wait to take a picture of myself and this plushie and send it to her. Her reaction must be very cute... Fufu... Goodbye. I hope to see you very soon.

_Kino moves away from the triplets while waving his hand.

Ayato: Haha... in hell...

*TIMESKIP*

_Ayato, Kanato and Laito enter the mansion.

Ayato: Chhch... My body hurts.

Shu: Pwaahh... So you are finally back.

_Shu is lying on the couch while yawning and Yui's plushie is on the pillow next to his head.

Laito: ....

Kanato: ...

Ayato: ...... How???? Oi lazy man, how did you get that plushie without coming to the store?

Shu: Huh? It's... so easy. I ordered online.

Ayato: ....

Kanato: Haaaaaaa???? WHAT DO YOU MEAN? WE COULD ORDER IT INSTEAD OF GOING TO THAT ANNOYING STORE, SHU WHY DIDN'T YOU TELL US? I WON'T FORGIVE YOU. I WILL NEVER FORGIVE YOU...

Shu: I was surprised why the three of you took so much trouble to go to that store. Well, this is not my problem. Now please be quiet. I want to sleep You are very noisy.

Ayato: You bastard...

Laito: Nfu~ I can't wait anymore. I want to do many things with this plushie. Ahhh, even thinking about it makes me hot.

Kanato: I would like to try different clothes on her. My new and beautiful doll is going to be very beautiful.

Ayato: Both of you shut up. This is going to be very interesting. Ahemm... Ahemm... Chichinashi, go make me some takoyaki.

_Laito and Kanato stare at Ayato and Shu smirks.

Kanato: ...

Laito: ....

Shu: Pffffff... you are so stupid.

Ayato: What?

Laito: Did you really expect a plushie to be able to move and make takoyaki for you?

Ayato: Huh? It can't? So why did we try so hard to buy it?

Shu: I am satisfied. It smells like that woman. It is a good pillow. At least when Yui is not here, this plushie will help me.

Kanato: You don't understand how precious dolls are.

Laito: I can also try interesting fantasies on it.

_Yui rushes into the room.

Yui: Ayato-kun, Reiji-san is very angry with you. He said that you in the store___

_The triplets stare at Yui.

Yui: What the..... !!!!!

Ayato: Oi Chichinashi. This ridiculous doll can't make takoyaki for me. Hurry up, make me takoyaki.

Yui: ...

_Meanwhile in Subaru's room.

Subaru: Hah... hah... I did it. I really i did it.

_Subaru enters his room while wearing a black coat, glasses and a mask and quickly goes to his coffin and puts Yui plushie in it and looks at it.

Subaru: I did it...

_Subaru blushes while staring at Yui plushie.

Subaru: Damn it... this is so cute...

_Subaru hugs Plushie and sleeps inside the coffin.

Subaru: Yui, please always stay with me...

_Meanwhile in Reiji's room. Reiji is sitting on a chair and brushing the plushie hair that was pre-ordered a few days ago.

Reiji: Good grief... these things are not for me.

_Reiji covered his face with his hand to hide his embarrassment.

Reiji: No one should know about this. NO ONE.

[khruschevshoe]

How Behind-the Scenes Issues Affected the Writing of Doctor Who (Both Good and Bad)

Doctor Who is such a fascinating show to look at from a Watsonian v. Doylist perspective. Like, entirely just from an episode writing point of view:

Twice Upon A Time feels so slow and meandering and even boring in places because Chris Chibnall didn't want to start his run as showrunner and Steven Moffat didn't want the show to lose the coveted Christmas timeslot (ironic, I know) so he bumped the Twelfth Doctor's regeneration from the end of The Doctor Falls (where it makes sense) to the end of the Christmas special

Boom Town (my beloved) only exists because originally there was going to be an episode in its spot explaining that Rose had been molded to be the Doctor's perfect companion (by the Doctor, gross) and the writer didn't have the time to commit to the show

The ending of Last Christmas feels like one inside-a-dream too many because originally Jenna Coleman was questioning whether she was going to leave the show or not and the ending was rewritten after the first readthrough when she decided she wanted to stay for another season

The first five episodes of Season 7 feel like each one takes place in a different genre because that's literally how Steven Moffat pitched it to the writers; for example, A Town Called Mercy was literally pitched as "Doctor Who does a Western"

Not so much a weird one but one I find cool: Eleven's first words and Thirteen's first words were literally written by Moffat and Chibnall respectively, as they were brought in to write the first words of the first Doctors of their runs so as to make it cohesive

The reason why Fourteen isn't wearing Thirteen's clothes when he regenerates is because Jodie Whittaker is much shorter than David Tennant and Russell T. Davies didn't want it to look like he was making fun of the genderfluidity of the Doctor (still think he made the wrong decision, but eh)

Wilfred Mott isn't in the Runaway Bride and Donna's father isn't in Partners in Crime because the actor who played Donna's father, Howard Attfield, died after filming several scenes for Partners In Crime, leading to the character of "Stan Mott" from Voyage of the Damned being written into Partners In Crime as Donna's grandfather

Astrid Peth doesn't die in the original drafts of Voyage of the Damned, but Russell T. Davies wrote what is generally considered one of the most emotional deaths in Doctor Who just because he wanted Kylie Minogue to be able to focus on her music career

Originally Oxygen was written as a prequel to Mummy on the Orient Express, where a corporate representative appeared on a monitor. Said representative was fired for his fumbling of the station and would later live on as the company computer, Gus

During Season 11, Chris Chibnall had to do some major rewrites for many of the one-off episodes, therefore The Battle of Ranskoor Av Kolos ended up being a first draft that made it to screen. He later admitted it was his least favorite episode of the series

And this is only a fraction of what I found in terms of major behind-the-scenes writing reasons. Though I am still totally willing to critique the product that made it to our screens, finding out the reasons behind some of the more badly written episodes of the show really made me feel sympathy for every showrunner of the show as well as appreciate a lot of the good episodes that ended up here despite the short production schedule/unexpected problems (once again, Boom Town my beloved AND everyone's favorite companion Wilfred Mott only exist because of unforseen problems). Absolutely bonkers, isn't it?

[bettsfic]

I have this thing where what I'm writing is absolutely not what I'm about in real life. I like complexity and depth in what I read. But the things I care about make only vague appearances in my writing, I don't know how to fully explain it. I have a lot of passion in life and I'm ~relatively emotionally intelligent. I'm curious about emotions, anyway, but what comes out in my writing is just cookie cutter.... Bland..... Zero complexity or emotional exploration. It's like I'm on autopilot when I write and I can't shake it.

i'm about to present to you yet another writing spectrum: director-writers and actor-writers.

a director-writer creates stories by writing discrete scenes that they see in their mind. like a film, a scene begins, something happens, a scene ends. we move on to the next scene. i would venture to say a majority of writers today are director-writers, because what's been en vogue in the 21st century is very much influenced by our visual media. we watch visual media. a great many writers like to render their prose such that it feels like a reader is watching the story play out. these director-writers are standing on the outside looking in, manipulating and moving all the pieces of their story to create the desired end result.

director-writing is so common that i meet many, many writers who trap themselves in scenic prose because they assume that's what "good writing" is. these writers are not actually directors. they don't want to be standing behind the camera; they want to be in the mind of the characters. and those people are actor-writers.

an actor-writer's prose doesn't necessarily prioritize scenes one after the next, but develops a compelling narrative voice. actor-writing is about learning to be someone who isn't you. i think the moment you abandon the forced witness of the camera and instead dive into the mind, experiencing the story instead of rendering the story, you unlock the path of that complex emotional exploration you feel is missing in your work. and you will probably never go back.

here's an activity to try:

whatever you're working on right now, open a new doc, take your main character and, in your mind's eye, trap them in an interrogation room. sit them across from you. ask them, "what is your deal?" write down their answer.

in this activity, you're looking for a few things:

what is their story? why does it matter to them? (this is probably the biggest problem i have with the pitfalls of director-writing: nothing matters. everything is just...happening. as a reader, i'm always looking for what i'm being asked to love. maybe that love is awful, toxic, contradictory, ambivalent, whatever. the point is, it matters. a huge percentage of the things i read never ask me to love anything.)

are they trying to convince or persuade you of something, making their testimonial unreliable? or are they confessing to you things they'd never admit to anyone else?

what is at stake for them? what is their deepest desire and their greatest fear? in what way is their deepest desire flawed? how is their greatest fear irrational? how have the events of their story influenced or distorted their perception?

close narration offers us the greatest possible access to the interiority of the narrator. first person is really just a monologue, an explanation, an excuse, a confession, a plea, a prayer. so so so many writers get blocked because they're trying to See the story instead of Listen to it. they force themselves into this elastic third person where the reader remains a distant witness with the occasional thought, insight, or feeling, but that comes second to what i call Bodies in Space. if i never read another "he strode across the room" again it'll be too soon. imagery is wonderful, don't get me wrong, but i would always, always rather get insight into what a character is feeling, thinking, grieving, dreaming than the knowledge that they are sitting in a chair.

i'm not saying switch to first person. you can create the effect of first person with very close third, and you can create the effect of third person with very distant first. pronouns don't really matter. what's important is voice over vision.

i say this a lot, but if i want to watch a story, i'll turn on my tv. prose is the only art form that allows us to fully explore human consciousness. let it do the thing it was invented to do.

my theory of director-writers and actor-writers is adapted from Percy Lubbock's The Craft of Fiction, in which he defines "picture" vs. "drama" writing. however i found that terminology confusing and poorly articulated, so i flipped it into a process-based approach with what i hope is more accessible phrasing. also, prose = consciousness is from 13 Ways of Looking at the Novel by Jane Smiley.

[ara-the-great]

One call away

Tw: slight reference to lores, slight gore (if you squint) fever and delirium, abandonment issues

(here is the request I got for Zayne and Sylus angst. I didn't know what to write so I added my own trauma. I HAVE NOT PROOF READ THIS)

You don't remember most of your childhood. Not that you cared much. The oldest thing in your memory that you could find was screams, the screams staying with your Grandma and Caleb but that too was well into your mid or late teens.

Even then you didn't have many friends, actually you had no one except Caleb. All of them either bullied you or abandoned you, they didn't care about you . You were desperate for any sort of connection as a child and as a adult.

Your dating scene was similar. Though you only had one relationship before you joined the hunters association. Even that was far from a good one. And now when you look back at it you couldn't remember much there either, you had cried so much, so damn much but still he left.

It's only after joining the association that your life started to look up. It was a new start for you. A new environment, new friends do you think they like you? and new opportunities.

You always kept your problems to yourself. You didn't want to make others worry for nothing. It's not like anyone was close enough to tell these problems anyway.

When this mysterious fever started developing you thought you could ignored it, just power though it, right? Wrong.

You could barely stand up. Slipping in and out of consciousness. Your body felt like it was being baked from the inside out. Yet it felt like your limbs were freezing off. You needed help to at least get to the hospital.

Even thinking of the hospital made you feel worse. You could practically smell the antiseptic scent of the sterile rooms. What if something is really wrong with you and you need surgery? Under the harsh flood lights and white coats and screams and they'll kill you this time. They'll hurt you. They will cut you open with a knife.

Sylus

You jolted awake shaking, you can't stop shaking. No one can save you this time. For all you know that kind-hearted boy who helped you is dead. For all you knew his body was stained as red as his eyes.

He answered "look who it is, I didn't think I'd be fortunate enough to get your call today kitten". You weren't sure when you had called Sylus but you already had. You didn't know what to say let alone why you called him. Could he even help? Suddenly you remembered the aether core. Maybe this fever was related to this. Maybe-

"kitten are you alright?" His voice sounded gruff but gave you so much comfort. But you wouldn't want to disturb him. He probably would hate you for it.

"I'm sorry i- I mistakenly called you" you managed to rasp out. Still shaking

"you don't sound well. Are you sick? Where are you?" He spoke cautiously. You weren't sure how he knew. Not sure that you cared because before you could answer a calm swept you into unconsciousness.

You woke up to someone opening your door. Shit shit shit shit shit shit . Someone was here. An intruder was here. You could barely get up and out of bed before stumbling onto the ground, your gun was nowhere to be seen. You kept trying to think where you kept it but you came up blank. You rummaged through your bedside table trying to find something to defend yourself with but your cold shaky hands weren't making it easier. The person outside had started to open your bedroom door when you found a blunt craft scissor which you held up towards whoever was inside. Your sight was blurry and your heart was beating in your ears like a war drum but you could recognize a tall figure approaching. You weren't going to let them take you back. you have to fight. You have to

"DONT COME ANY CLOSER! GET OUT IM NOT GOING BACK I WONT HESITATE TO KILL YOU DON'T YOU DARE TAKE ANOTHER STEP!" You screamed as loud as you possibly could. Tears ran down your face as you shook with what can be only described as pure terror. Scenes from the past kept flashing in your head. You could practically feel every damn cut they cut into you as a child.

You were sobbing and shaking curled up in a corner from fear and yet you kept the knife held up. It tore Sylus's heart apart to see you like this again. In the blink of an eye he was kneeling in front of you cowering form trying to reach out.

"Sweetie, Y/N please it's me. Calm down it's ok you are safe. Look at me. Shh look it's me Sylus. Its ok I won't take you anywhere, I won't hurt you." He held you in his arms even though you were wildly trying to stab him for a second. His normally smooth voice wavered and cracked.

"S-sylus? I- someone is in the house!" You deliriously mumbled from the high fever.

"kitten it was me. I came over because I was worried when you stopped talking over the phone. It seems like I was right to worry. You are burning up what happened?"

"I think I have a fever. It's ok though, I'll be ok" you said calming down. You leaned into his touch as he held you against his chest. His heartbeat was almost as rapid as yours.

"my love, I don't think you will be fine your fever feels well over 105. Why aren't you at a hospital? Why didn't you call anyone? Why didn't you call me sooner?"

"i didn't think you would come"

"all you need to do is say my name and I'll be there for you. Now come, let's get you to the clinic"

You shook your head trying to insist you were fine but the worry in his eyes only made you reconsider your choice

"Can you tell me why you don't want to go?" His eyes and his voice were lulling you to sleep again

"scared" your voice was barely a whisper. You could feel yourself slip into unconsciousness yet again.

When you came to you weren't in your house. Just before you could panic you felt sylus talk. His arms still around you like a shield from everything you were afraid of.

"it's ok you are with me. I'm here. I bought you to the N109 zone. You needed to see a doctor so I called one to my house. So no hospital, don't worry." Sylus explained without you even asking.

"thank you" you said quietly, feeling ashamed of the scene you caused earlier.

"For?" He asked with a brow quirked up.

"For not asking what all that was, and for bringing me here and also for taking care of me."

He laughed softly "You don't need to thank me for taking care of you. I always take care of what's mine." His eyes were ever so soft as he brushed away your hair from your face. "Now sleep. You are still sick"

"but I feel a bit bet-"

"Sleep kitten. I'll take care of everything else" he said softly kissing your forehead.

Zayne

You stared at your phone contemplating whether or not you should call Zayne. Though you were in a relationship you couldn't just disturb him. He was a busy guy. He had surgeries and more serious patients to take care of.

Your phone began ringing. Speak of the devil.

"Y/N? This is zayne. Are you alright? This is the second time you missed your appointment this week." His cool voice sounded across the phone.

"zayne, ah I'm sorry. I didn't mean to. I just have a bit of a fever."

" A fever? That gives you more reasons to come over to the clinic does it not? Do not worry about the appointments. I'm coming to pick you up. Are you at your apartment?"

"Zayne its truly not necessary I don't want to burden yo-"

"Rubbish, I was already headed out. So do not worry about burdening me. Worry about taking care of yourself" he cut the call before you could try to persuade him that you were fine. You were just grateful that someone was there. Even though zayne had abandoned you before. He didn't care about you. It was his job as a doctor to care for his patients.

You didn't realise when you had slipped into the sweet embrace of unconsciousness.

But by the time you had woken up your skin felt like it was burning from the fever. This wasn't normal. Glancing over at the clock you saw it was around 1 am. Zayne wasn't here yet. Why did you expect he would be here? You knew not to trust in what people say so why was your eyes tearing up?

As your fever kept increasing it became harder and harder to move around, it was painful to even sit up. He had abandoned you again. Your ex was right. You were annoying and in the end everyone would leave you. Nobody could ever love you.

The memory of zayne flashed across your mind. He had promised to always look after you. To be there for you.

You gritted your teeth kept mumbling "it's ok. I'll be ok" to yourself like a mantra as you somehow got a coat on your back to head to the hospital. You weren't sure how you'd reach there but the first step was to get out. Every promise that has been made to me has been a lie why would this one not be?

Just as you were about to get out of your room, your door softly swung open, revealing Zayne with an apron and a tray of soup in his hands. He seemed taken abac. But perhaps not as much as you.

"And where are you going? You shouldn't be up with such a high fever." He said as he kept the soup on the table. His cold eyes were filled with worry. Even seeing him had you breaking down into tears.

He scrambled to hold you as you collapsed on the floor crying. "What happened, where does it hurt?" He hurriedly measured your pulse and fever trying to find any sort of answer from your incoherent sobbing.

"Wh-when, when did you get here" you managed to croak out once you had calmed down a bit

"I got here long ago but since you were sleeping I didn't want to wake you. I was in the kitchen making soup for the fever, knowing you, your stomach is empty." He said as he slowly settled you into your bed.

As he turned around to bring the soup he meticulously made for you, you grabbed the back of his finely pressed shirt, "don't leave. Please don't leave, please stay. Please. I would die if you left me." you kept begged in your fever induced delirium. It broke Zaynes once frozen heart to see such fear and pain in your eyes.

He slowly leaned over to kiss you on the forehead "I won't. I'm just getting your soup. You need to eat something if you want to get better. You can't have medicine on an empty stomach"

Throughout the rest of the night Zayne diligently fed you and took care of you. And when you found it hard to sleep he would cradle you in his arms and read out his medical papers to distract you from your thoughts.

"I'm here, I'm here sweetheart, it will be ok. I'm not going to leave even if the gods demand me to" he comforted you every time you jolted awake. He would be whispering words of comfort to you till you fell asleep again and continue telling you how much he would give up for you. This treatment would go on for days, till you recovered. And even though you didn't remember how you begged him to stay, he would reassure you that he'd be there for you whenever he could.

[alexanderwales]

An Idiot's Guide to Creating Themes

There's something that Wildbow says about themes, which I'll paraphrase here: themes are something that grow without you even necessarily wanting them to, so long as the characters have strong traits and act consistently.

What this means is that if you have a character who has a real problem with authority, then naturally they're going to frame a lot of things through the lens of authority, and they're naturally going to get in conflicts with people in a position of authority. Suddenly, without even really trying to, you have created a Theme.

I don't really think that this by itself is enough, and think that it helps to bring some intentionality to the process. For one thing, if you have two protagonists who have their own strong traits, you might develop two different competing themes that do not work in harmony with each other, and suddenly people will start asking you "why isn't this two separate stories" and you'll come to the grim realization that they're right.

So if you have a single strong trait, you want to pick your other traits to be in harmony, and you want to do the same when you're thinking up secondary characters, villains, etc. Themes tend to flow a lot easier if all the stuff you're putting into the pot has something that links them together. Ideally you want a funhouse mirror where you get to see a bunch of different sides of your theme, different ways that the characters react to it, their different takes on it, even if you're just doing big shonen battles.

Doing theme construction in this way often involves trying to have the story as a prism, and your job as someone writing the story is to break that beam of light down into its component parts. Find as many pieces as you can, then make those into plot points, characters, side stories, etc.

Let's try an example!

I'm writing a superhero story and want to pick a theme, so first I think about what theme I want to spend a novel exploring, and I decide that the idea that's tickling me is the alienation of globalization and the information age, the way that everything feels overwhelming and Too Big sometimes, like there are a thousand things clawing at me for my attention.

So we start with our protagonist, and he's being pulled in a thousand directions at once, never feeling like he has enough time for anything, but paradoxically, for all that people want his attention and focus, he also feels alone. I haven't yet said that he's a superhero, but sure, it's easy to see how we can fit that in: people want him to solve their problems, to settle their disputes, to use his talents, to help them rise through the ranks, and that's not necessarily what he wants, but he feels trapped by it, like there's no other way to live.

If he's a superhero, he needs a superpower, and writing a story like this I would be extremely careful with what I picked since it needs to help carry many many fight scenes and plot points, but teleportation is my first thought: there's disorientation as he enters a new place, a feeling that he's never really anywhere because he could be everywhere, and maybe some secondary sensory powers on top of that, an ability to see and hear that can help evoke an internet connection (I have not at this point decided whether the setting has smartphones or internet, but I think maybe it works better if it doesn't, because one of the things about themes is that sometimes it's best to come at them from an angle).

So I kind of have a sense of the main character at this point, if not an overall plot. If the guiding star is "information age alienation and how it overwhelms us, offering infinite connection that leaves us lonely", then maybe the plot can be something about that. We can go toward the theme by having some plot about alienation, a society that's drifting apart, and probably a significant figure pushing that, or we can go toward the theme from a different direction, having someone who promises an answer. I like the promise of an answer better, something that our hero has tension against, so we whip up a villain whose whole thing is that the world has gotten too varied, too complicated, and promises a return to simpler times. Maybe they're a cult leader, promising family, promising that through their high-control group everything can be reduced down to something understandable.

(There are at this point many many options for our main villain and his/her powers. Maybe it's a woman who makes the world go still and silent in her wake. Maybe it's a time-traveler acting as a specter of the past. Maybe it's someone with mind control powers seeking to expand their reach until they can put the whole city under their thumb. Maybe they're a former superhero who couldn't take the constant desires and demands of the public and have twisted into a dirty form of self-induldgence. There are many "villain" answers to the question of alienation.)

So we add in some side characters. They should also approach our theme in some way. Here's a quick and dirty brainstorming list:

A friend who is terminally cape-brained, always keeping track of their specific domain of expertise, retreating hard into a niche where they know everything, which takes monumental effort and a sort of nervous anxiety approach to information. Probably a superhero with an info power, name of Dispatch or something.

A father who is blissfully unaware, but shows the flaws of that approach, always ignorant, knowing little about the goings on of the greater world, alienated in his own way by that, unable to connect to people because of it.

A government handler/contact who is a friend, but always pushing our hero, always ready with another thing that needs doing, another cause that needs nudging, a criminal manhunt to help with. A symbol of pressure, anxiety, and overload, but friendly in a way that makes it tough to say no. (A stand-in for the kind of friend who always wants to tell you about the latest atrocity, who doesn't quite demand that you know the name of every person brutalized by the police, or the latest list of people whose shittery has come to light, but does seem mildly disappointed that you're not as tuned in.)

A mentor figure who burned out, maybe a speedster who ran too fast, did too much, let themselves get run into the ground both figuratively and literally.

I think that this is a good enough starting point that if I wanted to writing this story, I probably could, and maybe the core of it would evolve as I wrote, but I have a guiding star to look toward, and one of the great things about setting out to write a theme is that if you ever hit a bump, you can look over at the post-it note that describes the theme in a few words and hopefully, get back on track.

[mitsua]

Watching a scary movie with them

If you're easily scared

Warnings: mentions of blood and monsters

Genre: fluff & comfort Series: Obey me! SWD?

MC 's . . . GN! Words' count: 0.666k

Will sigh all the time you're setting up your date idea because why would you want to make himself (yourself) suffer watching those devil-mocking films?

However, if you're pretty sure of watching it he'll have an arm around your shoulders all the time.

Would ask if you'd like to leave it at that whenever you scream or start shivering.

Will try his best to disuade you from this terrible idea. Because you won't only be suffering but you'll make him suffer too!

When you give him the alternative to leave you alone to watch it, he'll switch to protective partner and act all mighty and strong for you, though you know better than that.

You'll spend the next hour and a half hugging tightly and screaming so loud the other brothers would want to disconnect the TV for you.

I think he doesn't get scared that much with movies since he's played a lot of videogames genres, including horror and/or gore, so the only thing he might be whimpering for might be the extreme closeness you share when you jump in fright and hug him tighter each time a jumpscare occurs.

Will propose if you want to play a chill videogame for you to be easier to get some sleep after that terrorific hour you spent at the living room.

Overall a pretty good brother to watch them with 10/10

Horror might come with mistery most times so accepted your date idea right away.

Might be between disgusted by the bloody scenes and so intrigued as to when will the killer or creature will appear he might forget he's watching it with you.

I bet he also tries his best to guess when will the next jumpscare will appear as he senses the atmosphere change and will get it right most of the times—that would be when he turns to tell you his guessing and find you're almost dying out of shock.

Because of this he'll redeem himself by spending the rest of the night reading to you to sleep.

There's two ways you'll get him to watch a horror movie.

You tell him everyone's been gossiping about it and you wanted to watch it with him, telling him you do not know what it is about.

You beg him for a long time and offer to get as many fashion dates he might want after it.

Be mindful of your ears 'cause those will be the ones that suffer the most of everyone in the living room through the scary scenes.

Will be his excuse to keep squeezing the life out of you even months after watching it.

It doesn't really matter whatever movie you want to watch with him, however I picture he'd prefer watching a chill one. But since you told him you'd get some trinkets to make the environment spookier and more delicious as the Halloween tradition dictated in your world who would he be to deny such offer?

The biggest reaction you'll get from him might be his eyes widening or stop eating for a few minutes—once he resumes his crunching you'll know he's recovered from the fear.

Has no problem with you bear-hugging his side for as long as you want because he feels he's doing the right thing if holding him close brings you comfort. Although he'd prefer not watching you get so scared...

The worst to watch a horror movie with.

Asides from his incessant mocking all way from you picking out the movie with a frown on your face, to setting up the dark environment while trembling—he might be such an ass to start scaring you in the middle of the movie!

Be careful, get a spray with holy water or whatever to protect yourself from getting way more panicky than the average would be after watching it.

However, your dreams won't be affected by any of those horrifying monsters that appeared every now and then, why would that be?

All writings' rights reserved © 2024 Mitsua. (Credit to the respective owners of the picture and tagged anime characters.) ⌇ my navigation!