#its not even a problem it’s just inconsistent >:((((((

[i-may-be-an-emu]

woe Cliff angst be upon ye

warning for distortion/glitching effects

Music credit: “Paralyzed” by NF

Video credit: shootimpro (“The Cardboard Stegosaurus” improvised play #16)

[dcfangirl]

Just watched an hour long video about the yellowjackets background girlies and I didn't realise until now just how many of them just permanently dissappear off screen, they were like 20 and by 3x5 only 12 remain.

Whats annoying me about this is that they could have easily had some of remaining extras die in the fire, which would have gave them extra ammunition in their anger against coach scott.

[marinsawakening]

Unpopular opinion but I actually really like LOZ's approach to its lore and continuity. LOZ games take whatever elements from previous games they like, transform them to suit the needs of the current game, and discard the rest. I think this approach is perfect for a long-running series, because it makes the games to feel connected without being beholden to previously established lore and plot. Playing earlier games enriches the experience of playing later ones, but most entries are perfectly standalone and very much do not require you to have played earlier games, making the series easily accessible to newcomers yet rewarding for veterans.

This approach also allows the series to evolve without being held back by previously established canon, yet allows room for appreciation of earlier games. Ocarina of Time is clearly based on the backstory established in A Link to the Past, but it would not have been a better game if it'd faithfully adhered to it. Its willingness to contradict ALTTP canon by establishing the Kokiri, Zora (or rather changing them), Sheikah, Gorons and Gerudo enriches the world and story, and not killing off Link at the end to 'preserve continuity' was obviously far better than the alternative. Yet using the backstory of ALTTP as its base enriches OOT's story and gives added depth to both stories by allowing you to have more context for the ending of OOT and the story of ALTTP.

Whenever I see people talk about LOZ's continuity, it's near-exclusively to complain about how nonsensical it is. To each their own of course, but I strongly prefer a series that prioritizes the quality of its individual games over canon consistency. I think LOZ's approach to its canon, of allowing previous canon to affect and inspire new games while being perfectly willing to contradict it, has much more staying power than perfect canon consistency could ever allow. This doesn't mean I agree which what exactly each individual game decided to use, change or discard, but I believe overall that this approach makes the series better. The fact that LOZ games are next to impossible to place into a coherent timeline as a result is unimportant compared to the benefits.

[autisticlee]

I need a friend (or maybe actually a life partner) thats super consistent/scheduled, not flaky, probably not disabled with unpredictable flare ups/energy issues, someone with energy who can plan and get stuff done. because I cannot do it myself. I need someone very close who is like this so they can help me do things I want or need to do. come over in the morning to exercise like go for a walk or swim or kayak. come over to help me make food when they realize I forgot to eat. come over and help me change my bed sheets. sit with me while I work on something and keep me focused or help me get done easier. plan a time to hang out or go somewhere and be here at that exact time instead of forgetting or canceling.

I NEED consistency in my life. I cannot provide it for myself. I know there's people out there who are like this. the autism in me craves it. but the adhd in me rejects it and always wins no matter how hard I try. having unpredictable physical flare ups doesn't help. trying doesn't do anything. people make it clear to me that it doesn't look like I try at all. that proves how useless trying has been. I need an external force that is beyond my control. alarms and reminders are in my control so they never work. I can't be consistent with myself and flake out on myself, beyond my control. but when it comes to other people, i'll push through and stick to things for their sake. I need a separate entity that has more control over the situation. someone to do with me and not just "remind" me. but also someone that won't push me too hard or let me push myself too hard. remind me to stop and drink/eat. don't let me push through pain. remind me it's ok to rest. etc.

but finding consistent people is so hard. I can't seem to do it. I only find and attract flaky, inconsistent people. I don't know what i'm supposed to do about it. they want me to be their consistent, nonflaky friend that they can flake out on. i'm told i'm always there for them whenever they need me, and they appreciate it. but I can never say the same about them.

no one wants to help me or "hold my hand" mostly because they can't even help themsleves and expect me to do everything for them, but also people who could help just dont like or care about me enough. i'm a burden to people who don't care or value me enough. I need someone to magically care so much about me that they enjoy being my solid pillar of consistency, support, and companionship. they wake up and WANT to see me immediately, so they come over and wake me up to make breakfast and go for a walk and do chores at their house together and etc.

you can't just wait and they will show up like a pokemon you can catch and turn into your loyal companion. you can't just make someone like you. but I don't know how to make anyone like me/find people who like me for who I am and don't have the energy and spoons endlessly sort through everyone in the world for the chance of finding one i also like and feel comfortable with. I need a person that either doesn't cost energy to interact with or somehow gives energy. that'd so hard to find.

I do try, though. but it takes at least a month or two to recover from the energy and effort it takes to reach out to a single person, especially since it's me doing most of the work. so the process is slow and is wasting my life away. I don't care about the possible "one day" because i'm struggling NOW. thinking about "one day" hasn't helped improve my life one but over the past 15 years or more, i've been told "one day"

it seems to be all about either luck or being privileged to have the energy and right personality to attract the right people. I have none of those things. so I just continue to struggle to exist within my own chaos alone. merely barely surviving and not at all living.

[neontetra]

ifeel like literally everything i am supposed to do to be a like. well adjusted human being is so so so exhausting? like i dont even mean a job or being "productive" or whatever.. socializing and hobbies often physically and mentally drain me so much and so fast and its really hard to keep up with things like that when having one (1) conversation or trying to do a cross stitch pattern for like half an hour makes me feel like i need at Least 2 weeks to rest and recover

[jackass-jones]

I’m getting kinda feral about Ryuki today so I wanna bring up something else

Since the entire Ryuki side of the story is pretty much just everything he tells Mizuki about what happened 6 years ago, this begs the question: is his summary including the parts that are from the future, or is this just a writing error?

It’d make sense if it was just an error like. First off if Ryuki could see the future that’d be a whole mess, plus the future he’s seeing here isn’t even in the right timeline, it’s all what happens on the B side. Plus, the whole twist of not knowing what the proper timeline is is already a pretty iffy twist because it’s only a twist to the player, not to the characters. Since it’s kinda flimsy to begin with, I can see how the writers could’ve just completely fucking forgotten to fix the Ryuki side to make sense with this twist. They kinda forgot about Ryuki a lot in the second half of the game after all and a lot of the writing around him is messy as hell so I can believe it

But, let’s pretend this all WAS intentional, that Ryuki DID include information about the future in his story to Mizuki. This would go perfectly with the idea that Ryuki is a frayer and that he’s being haunted by knowledge from the past and future and is incapable of distinguishing the two. It’s already true that Ryuki has trouble telling what year it is (during the practice launch on the Mizuki side we see Ryuki in a trance waiting for Shoma to get off the ferris wheel even though that’s an event that happened 6 years ago, Ryuki makes constant references to Date being disappointed in him,etc) so it’d make sense if he got his wires majorly crossed when telling Mizuki what he remembers about the case from 6 years ago. If this is the case, then Ryuki’s powers can extend across not just past and future, but also multiple timelines

It’s not like Ryuki is the only one with this power. Date remembers when he was hospitalized in the Mizuki route during the true ending and gets confused about why he’s remembering things that never happened. Mizuki is able to remember Jin being referred to as the almighty despite her not hearing about it in that timeline. But it is interesting that Ryuki is the only one who seems to be plagued by his knowledge. The other two protagonists will be just kinda weirded out by their ability to know things that didn’t happen, but they recover pretty quickly. Ryuki though, he doesn’t know what timeline he’s in and he’s constantly speaking and thinking in riddles and drowning himself in liquor to forget everything and is only able to function in the A side BECAUSE the somnium failed and he wasn’t able to remember tearer’s true identity

Basically Ryuki cursed with evil timeline powers and it makes me wonder if he’s an unreliable narrator on purpose or on accident and honestly, I don’t know if I wanna know

Had an epiphany last night and I haven’t seen anyone talk about this (maybe because it could be just so obvious no one felt the need to but shhh) but look here at the veeeery beginning of the aini flowchart

We got the Ryuki somnium as the first split and as we know, this split happens based on whether or not you (or ryuki in this case) know the name of Tearer. You can only get the Mizuki side of the story if you have played the Ryuki side and have heard Tearer’s name. The somnium will also be much more complex and dangerous

So essentially on the B side, the psync is unsuccessful. Mizuki doesn’t really help Ryuki, and she barely learns anything about the hb case. Ryuki is left in the same mentally unstable state he was before, and he can’t hold a conversation without babbling and laughing maniacally. This leaves Mizuki to do her investigation without any of the past help at all, which is how the true route of the story is supposed to go

This isn’t anything new, we know this. What I do wanna revisit is the A side, where Ryuki doesn’t remember Tearer. The psync is actually successful and the results are significantly different than the B side. Ryuki sobers up and is able to tell Mizuki everything that happened to him 6 years ago. So basically the Ryuki route (the parts from 6 years ago) is everything that he’s telling to Mizuki

This means that there’s a whole separate version of the story in this timeline where Mizuki learns everything about the past, including what happened to Date. And what’s getting me feral about this is. How did the investigation proceed afterwards??? Did the two of them work together to finish the case? Did Mizuki get a chance to mourn Date? Did she lash out at Ryuki? Did Ryuki even mention his involvement with Tearer or Bibi’s existence at all? How would everything had changed if they worked together?

IM GOING INSANE I NEED TO KNOW ABOUT THE A SIDE TIMELINE DAMMIT-

[onismdaydream]

can't think of anything other than toji with his big and strong arms..

the quirk of his lips, his scar pulling up into a devious grin as he realizes what you're doing, lazy eyes focusing on your thighs pressing against his bicep.

"needy little thing, aren't ya?" it's all bark, no bite — he loves seeing you desperate like this. always wanting, wanting, wanting. you make a soft whining noise at his words, the drag of your panties catching your clit and the hungry look in his gaze drives you to rock your hips faster. your underwear is quickly getting soaked with your slick and it doesn't help when toji flexes his arm underneath you.

it just feels so good.

you've always admired toji's physique — his broad chest and bulging muscles. they weren't just for show, either. yes, his body was easy on the eyes and you still feel your skin heat up when he wears those impossibly tight shirts, but he was strong as hell, too. he could throw you around effortlessly, though he much preferred to hold you against a wall to fuck you senseless. even when your body became limp and your limbs turned to goo from pleasure, he had no problem lifting you in his arms.

and to feel those same muscles against your pussy? it is amazing.

"makin' such a mess, doll." your eyes flutter shut when he flexes again, the firm muscle making a perfect surface for you to rub yourself on. its sloppy, both your movements and the arousal that now coats his upper arm. "feels good, huh?"

you can't respond even if you want to. your tongue resting heavy in your mouth as you pant and groan at the growing sensation in your stomach. every roll of your hips bringing you closer and closer to the edge and making you feel almost dizzy with the desire of release.

toji watches you; every little expression and sound and movement, he commits to memory. you're like a fucking dream come true. there's the bit of doubt that he doesn't deserve you in the back of his mind, but it's quickly silenced when you whine his name.

"yeah, that's it, baby," his voice is husky, breathless almost and it goes straight to your clit. "ride my fucking arm."

it doesn't take long before you unravel above him, hips stuttering in their inconsistent pace and thighs shaking from the overwhelming pleasure coursing through your veins. toji allows you to gather yourself, even after the mix of your slick and cum begins to cool and become sticky on his skin.

after all, he's not done playing with you just yet.

[mourn-and-watch]

in all seriousness, dragon age being almost officially dead to me is, like, whatever. i'm used to hanging out in dead fandoms because i'm usually extremely late to the party so i think i'll manage. i was excited for veilguard but even if it was bad bad for me (which it wasn't. i have my problems with it but they didn't ruin the franchise for me) i would also manage because dragon age to me always was extremely flawed but had an enormous potential for fan content. at some point i started to treat it like my favourite fantasy playground where i can smash pre-existing barbie dolls with the ones i made myself. all my barbie dolls are in place and i still can do whatever i want (and i plan to continue to do so) and, i guess, i shouldn't be upset.

i am upset, however. for all the devs affected by laid-offs, but especially the writers. these people created dragon age as we know it, and it's been a messy series in every aspect, including the writing, it's been insensitive at times, at times dumb and undercooked, but there was always an immense amount of potential that's been inspiring fans for years, and also a feeling that all, or at least the most of it was created with genuine passion. and realizing that there is no one left from the team that made dragon age what it is, every installment of it, is just. genuinely sad. and it's not a theseus ship dilemma, because it's not like they were slowly replaced one by one. they were just fired. this ship is destined to sink, it's falling apart in front of our eyes because neither ea nor bioware cares about writing. not many companies do nowadays, to be honest. and it's kinda devastating. grifters will celebrate that like a "downfall of woke slop", but they'll get only more ai slop instead, lol, because good writing doesn't guarantee good sells. best selling games of 2024 are shooters and sports games. and elden ring which is a nice exception, but an exception nevertheless.

i don't think mass effect will save bioware at this point. even if it's an absolute banger it still has to meet ea's expectations. which are unrealistic, to say the least. also people who wrote characters like mordin, tali, legion, thane, garrus and liara are all gone. either they left themselves or were laid off. like, if you want "old bioware magic" to return, there is none. the same people who wrote your favourite characters and storylines in da/me were also working on veilguard. i may be wrong, but somehow i think they didn't all lose their ability to write here because they went woke or whatever. i think the inconsistent quality of datv writing that can only be described as 'we're so back/it's so over' pic is a consequence of multiple rewrites, constant director changes and shitty decisions, both internal and coming from bioware/ea higher-ups. i also may be wrong, but it wouldn't be such a big problem if writing wasn't at the bottom of priority list.

if i recall correctly, when gaider left willingly, he highlighted that bioware didn't treat its writers seriously at that point. and i'd say that tracks. like, from countless veilguard rewrites and scrapped ideas to lay-offs of every single studio veteran.

idk what else there is to say. i'll cheer for every studio that value its writers and i hope all ex-bioware devs will be able to do something new and exciting. i also doubt bioware is the last studio that will experience such a decline in the years to come. the narrative of this shitshow will also be twisted into 'go woke go broke' and it already slightly draws me insane. fuck ea fuck bioware fuck grifters. also i beg everyone to start appreciating writing as a craft because otherwise it's only going to get worse!

[sugurusfavemonkey]

HIGH ACHIEVER - ONE: HOW TO BE A TEAM PLAYER

summary: You've always prided yourself on your grades but when Suguru enters the scene, competing for the top spot in your major becomes more than just a matter of honor. What happens when you're forced to work together on a long project (and so what if he happens to be just your type)? pairing: Geto Suguru x reader word count: 2k content: college AU; academic rivals to lovers; short series; mutual hatred attraction; afab!reader; angst/comfort; reader is described as being shorter than Suguru (but then again, the man is about 6'3' so who isn't?); smut (in future chapters - MDNI) ♪playlist♪ +more Jujutsu Tech College AU

Suguru Geto was the very apex of campus. 

Not only was he a big name in the basketball courts, but Geto was also the most skillful martial artist and exceeded in every single class he took, being among the top students in the academy. He was cocky but never unkind. In fact, Geto's amiability was a matter of admiration throughout the grounds. As if that hadn't been enough, he was beautiful. With his tall frame, broad shoulders, silky black hair, perfect complexion, kind caramel eyes, nihilistic smile… He was also the utter and absolute bane of your existence. 

It seemed to give him the utmost joy to counter every single point you brought up in the classes you shared or to find and point out inconsistencies in your arguments. In other words: he lived to antagonize you.

You didn't even care about being valedictorian; it was nothing but a title - who were you kidding? Gojo would be getting that anyway, the boy simply didn't know how to lose. Not even Geto could surpass his GPA and ranking position combined - but you did pride yourself on your grades and learning. It's why you even attended college to begin with: it's the goal, isn't it?

The problem began when Suguru decided to make it his business always to show you up. If you were happy about your 98% on a test, he just had to point out his 99. If you accurately responded to a question made by the professor, he felt obligated to mention details you had "seemingly forgotten".

It was frankly maddening.

"Sometimes the best solutions come from intuition and an understanding of the specific circumstances of the case - it requires flexibility." you spoke when asked about evidence-based practices in class. Mr. Yaga nodded complacently and took a breath as if preparing to launch into another rhetoric when there was a loud sneer.

You knew that sound well enough it immediately caused your spine to stiffen. You didn't even have to turn on your seat to find its source.

"Anything you'd like to share, Mr. Geto?" the professor promptly asked, arms crossing in front of his chest as one of his dark eyebrows shot up above the black sunglasses that were usually covering his stern eyes.

Of course he had. Geto always had. You rolled your eyes, already anticipating his antithesis. Countering your arguments were his favorite pastime after all.

"Yes, actually," you felt his eyes burning on the back of your head, but you refused to turn and give him the satisfaction. "Relying on gut feeling when people’s lives and well-being are at stake is… precarious. Evidence-based practice relies on proven methods, which is exactly what we need: tested and effective approaches." You could almost hear the arrogant smugness in the tone of his voice and your anger bubbled over to the point of spilling.

"So you'd prefer to overlook important nuances? People are individuals, not statistics. Using averages when each case is different is inadequate at best." You retorted as you twisted in your seat, your indignant eyes meeting his cool ones.

"Mrs-" The professor tried to stop the argument before it picked up, but it was already too late the moment you decided to counter Geto. He knew exactly what the result usually was. Every member of the docent body was aware of the rivalry between you.

"All that sounds lovely, very idyllic. But we should remain grounded in measurable outcomes, not guesswork, sweetheart." Geto spoke in his usual smooth cadency, but the disdainful undertone was not lost on you. He had this complacent closed-lip smile that grated your nerves on.

You scoffed at the belittling term of endearment he used, "A more creative, personalized approach builds trust and leads to success."

"And how do you plan to measure this success?"

"Success cannot be measured by research."

"And you suggest not relying on research? That is irresponsible."

"That is not what I-"

"Enough!" Mr. Yaga bellowed, clearly having had enough of the back and forth between the two of you. You clamped your mouth shut, embarrassment making your skin warm. "As much as all of your points are valid and very pertinent to our subject matter, you're letting your nerves get the best of you. I wish to continue my lecture now though." He paused gaze moving from you to Geto, "unless that would inconvenience either of you, of course."

You let your body slide down on your chair so as to avoid the attention still feeling Geto's gaze lingering on you. You hated that you let yourself be moved by his obvious bait, that you coulddn't help but rise to the occasion whenever he so much as breathed in your general vicinity. You wished you could say you had better self-control but you simply did not. It's a pain and a chore really.

The lecture picked back up after your humiliating schtick without further incidents… mostly because you decided not to chime in anymore. And, of course, without you to counterattack, Geto felt it would be pointless to partake in the discussion. Asshole.

You sighed in relief when the professor dismissed the class, quickly throwing your laptop and water bottle inside your bag and making a beeline to the door when he called your name followed by Geto's.

"I'd like to speak to both of you for a moment."

"I have to get to my next class-" you started to protest, hands tightening on the strap of your bag when he interrupted you:

"It'll only take a minute, Mrs."

You sighed and timidly moved closer to his desk, fingers still fidgeting. You could feel Geto's presence right beside you, but refused to even glance his way.

"This feuding between you is getting out of hand. I'd like to ask you to take it easy on the altercations from now on. You both make valid points most of the time, you should learn to compromise every now and then. Being this intransigent will get you nowhere in life." Mr. Yaga glare had you cowering slightly, shoulders hunching in. "You two are my best students in this subject so I decided to pair you up for a special semester-long project. That should teach you a little bit about accommodating the other's needs."

"What?!" you nearly choked on your spit.

"I want you to write a paper evaluating the impact of local outreach programs. It'll be worth 25% of your final grades. I'll email you the details. You're dismissed."

"Profes-" once more you tried to object but Yaga gave you no chance to even finish your thought:

"I said you're dismissed." He stood his ground, not bothering to even look at you as he started stacking the papers on his desk.

You huffed in annoyance and marched out of the auditorium. You heard Geto's steps and tried to walk ahead of him, avoiding the consequential conversation after receiving such horrid news but he easily caught up to you with his stupid long legs.

"Give me your phone." his velvety voice demanded. You stopped in the middle of the corridor and he did the same, turning his body to you, proudly crowding in on you and towering over your form, mindless of the other people walking past form both directions.

"What? No," you scoffed indignantly. Geto sighed and rolled his eyes, clearly regretting this exchange as much as you.

"I'm just gonna add my number to your contacts. As much as I'm dreading this, it is not the kind of project we can just work on separately and then put it all together. It should be seamless."

That made you pause. You really couldn't argue with that sentiment. Still, you were so used to it that you couldn't help but affronting Geto: "Huh. I didn't think you had it in you to be reasonable."

"Ha. Ha. Very funny." He deadpanned. You did hand over your phone after unlocking it and opening the contact info page after a second of hesitation when you found no hidden agenda behind his demeanor.

"Just type in your number so we can get this over with. I'd like to get this over with as soon as possible. My daily quota of you is already blown over." You said as you crossed your arms in front of your chest.

Your words had the opposite of the expected reaction though as you saw the moment his smile turned predatory. You steeled yourself for his upcoming retort but none came.

Your eyes instantaneously flitted to the strand of hair that fell off his half-up hairdo and covered his left eye as he lowered his head to type on your phone. You hated that if anyone ever critiqued a man bun that's because they had never seen Suguru Geto's. That man sure knew how to pull off one of the most controversial hairstyles to ever exist. You couldn't imagine there was something he wouldn't be able to pull off, to be honest… what a shame he had to be an insufferable asshole.

"That implies you need at least a small amount of me in your day." you were so enraptured in your analysis of his hair that you almost missed his jab.

"No, I-" you scowled in disgust, nearly ripping the unoffending device from his offering hand once he turned it back your way. "In your dreams, Geto."

He only hummed in response, that stupid smirk on his face. Again.

"Fuck you, Geto," you threw over your shoulder as you turned on your heel, not wasting any more time before heading for your next class.

"I'll text you, sweetheart!" He called after you, the sound of his laughter following.

You ground your teeth together in anger, your face feeling uncharacteristically warm. You only let yourself check your phone after you turned a corner so you were absolutely certain you were no longer in his field of vision. You stared in perplexity at the name he saved his number under.

"I can't believe this pretentious douchebag had the audacity… most brilliant colleague my ass!"

You were switching up his name in your contacts to 'arrogant prick n2' instead when you heard your friend's voice calling you over.

"Where were you? The class starts in less than a minute and you know how Gakuganji gets with laggers," her short dyed blonde hair swayed as she glanced from your approaching form to the open double doors to the lecture hall by her right.

You rushed towards Akari with a quick apology and a "what are you doing out here then?"

"It's not as if his lectures are ever full." She shrugged easily flitting her arm to yours so you could enter together.

"Noted."

The two of you easily found and occupied a couple of seats by the back right before Gakuganji launched into a dull monologue on the psychological effects of music on the brain, which could have been an interesting subject if it wasn't taught by someone closer to a mummy than a human with the most boring cadency to his voice.

"Did Yaga hold over the class?" Akari mumbled the question as she set up her laptop.

"Held me over, you mean," you murmured back. You felt her questioning gaze settle on you, so you decided to further explain, "he wants me to work on some big project about local outreach programs."

"That sounds like a lot of work, why only you?"

"Not only me. Something about learning to concede or some shit like that."

"What is that supposed to mean?"

"Well, apparently I have been too intransigent with Geto and now we gotta learn to work together."

She let out a loud sound, a mix between laughter and a snort which immediately had Gakuganji dark eyes turning your way.

"Sorry!" Akari winced, "I, uhn, chocked.

The professor huffed and you waited for some sort of reprimand, but he only got right back into his spiel.

"You're joking? You mean to say you have to work with Suguru Geto?"

"Unfortunately."

"Well, say goodbye to Jujutsu Tech, because the two of you are about to wreck this whole school."

She wasn't wrong.

next >>

Jujutsu Tech College AU taglist: @indiewritesxoxo @nanasukii28

©sugurusfavemonkey 2025┃all rights reserved. do not copy, repost, translate or otherwise modify this work

[actually-safer-to-kiss]

Pounding

Summary: Reader has a migraine, and Spencer wants to help.

Couple: Spencer Reid/Fem!Reader

Category: Hurt/comfort

Content warnings: none

Word count: 1.2k

The transition of seasons is something that has to be endured. It’s the time when you wake up to frost on your windshield in the morning but must remove your coat by the time you leave work. It is a painful time of inconsistency, especially for your sinuses. Not only with the pollen in the air (as well as on your car at all times) but the dryness as well. It causes your headaches to go from sometimes once a month to now twice a week.

And the first one happens this week, today. The migraine descended on you like a storm, brewing from your nasal cavities, its relentless waves of pain crashing against the shores of your temples. With each throb, the world around you seemed to blur and spin.

You shut the door to your apartment and let your bag fall from your shoulder, with no care with where it lands. Light, food, the smell of home is all too much to bear. With a sigh, you shuffle to the sanctuary of your room and bask in the silence while you can still control it. You unleash yourself from your business casual attire and fall into bed, nestling yourself under the covers.

The darkness relieves pressure, only slightly. It will probably be hours before it has settled, so you think it is best to call it a night now at 5:56 in the evening. There was no point in doing anything else as streetlights alone from the windows have proven to be enough to make the back of your eyes ache. You remained still, motionless, unmoved. Minutes could stretch well into hours without your knowledge.

Until the sound of the front door opened, cutting through the quiet. Spencer was home, which means it’s 6:06 now. The creaking floors from his aged apartment tell you he goes to the kitchen first, the sink runs, then his steps only grow closer to you until you can feel his presence at your back. “Migraine?” He asked, already knowing the answer.

It drains all energy and motivation out of you, so you merely nod in response. He’s more than familiar with severe head pain; chronic migraines that were resolved with a vitamin regimen. Fortunately, he has yet to complain about them bothering you in the year you’ve been together. And he never leaves home without them.

Unfortunately, this makes him eager to figure out your head pains. Last spring, he left out an array of vitamins in a pill organizer. They didn’t. It wasn’t an issue at first. It was clear he was trying to help. The downside of your boyfriend being a child prodigy and objective genius is that he will never back down from a challenge, even when you have asked him to. He can’t do it. Later in the month, he came home one day with an array of tea brands, mostly ginger and peppermint. He’s bought humidifiers, massaged the cartilage of your nose, and even consulted Reddit. It’s certainly worn down your patience, especially when you require complete silence.

“I can get you some hot compresses from the pharmacy if you want.” He jumps in completely. The last three words are merely to cushion the obvious; reiterating the point rather than saying something like, “I’ve had headaches before. I know how awful they are, so you should let me help you.” Which he’s also said.

You continue the annoying pattern by shaking your head with an audible moan. Opening your eyes hurts.

“What about nasal spray or decongestant? I can get those at the pharmacy as well.”

“I don’t need anything from the pharmacy. I took ibuprofen. Just need to keep my eyes closed.”

“Well, that can only help so much today. Saline will help encourage drainage and expansion in the vessels. Ibuprofen solves the head pain, not the root problem.”

“Unless the BAU can order planting fruit trees, it’s the best we can do.”

“What I’m trying to say is—”

You groan louder. “This isn’t a time for solutions, Spencer.”

Another unfortunate aspect of your relationship is that you can feel the way Spencer’s face softens from your tone. He then mutters out an apology, a brief sorry, but he doesn’t leave. He touches your shoulder and keeps his hand there until you turn to face him. And because you love him very much, you strain to open your eyes. You can make out a blur of his silhouette in the growing darkness, but still see clearly his glossy eyes and the quirk of his lips. “Can you do something for me first, though? Real quick?”

Before you answer, his hand slides toward your upper back, meaning you have to sit up for this. You were ready to say something along the line that he’s lucky you love him right now and leave it at that because thinking further made the pressure in your temples increase. 

You didn’t have to speak at all, though. Because Spencer is also holding a glass of water in front of you. You look up at Spencer’s puppy-eyed silhouette. “Not a solution,” he says softly. “It’s something you always need.”

Well, if that didn’t make you feel like an asshole. You accepted the glass without a word, feeling the coolness against your palm as you brought it to your lips. Each sip, at the very least, a distraction from the throbbing. Spencer watches you closely. You had no choice but to finish the whole glass. And you did, leaving Spencer satisfied enough as he took the glass and walked out.

You didn’t say a word. The sink ran again, and Spencer returned with another full glass. He doesn’t hand it to you, instead puts it on the nightstand before turning precariously on his heels. It takes you a second through half-closed eyes to realize he’s walking back out. You’re afraid to ask, wondering if you’ve made him too upset to talk. You push yourself and do so anyway, keeping your tone in mind. “Where are you going?”

Spencer turns on his heels once more, looking around momentarily like there were others in the room. He then looks at you. “I figured you wanted to be alone.”

You reach out, moving through the pain quite literally, and you catch the polyester of his cardigan just between your fingers and pull him closer until you can wrap your arms around him. You hold your breath, knowing the intense smell of his laundry detergent would be enough to collapse down to your pillow in further pain. His cardigan is soft against your face. “Do you have other stuff to do?”

He chuckles, his abdomen bounces. So, he’s not too mad. “I do not.”

Encouraged by his response, you tug him gently (and not so gracefully) into bed. He’s delightfully warm. Spencer kicks off his shoes in response before pulling you close. Then you bury your face into his chest, hesitant to breathe in the scent of cedar that clings to the cardigan. You try best to ignore it as you cocoon yourselves beneath the blankets, finding refuge in each other’s company amidst the inner turmoil that comes with spring. You listen to the steady rhythm of Spencer’s heartbeat, and find a fleeting sense of peace in the storm.

[ordinaryschmuck]

I love that The Ghost and Molly McGee's forced cancellation isn't just frustrating to fans of the show but to people in the animation industry as well. They're just as sick as we are about how much studios disrespect animation. They keep looking for the next Spongebob, Simspons, or goodness forbid Family Guy, but instead having faith in the creators and their content, they just...wait. They wait to make a profit and do the bare minimum to market their shows and make them available.

Let's look at Gravity Falls for example. I remember that when Gravity Falls was still airing, you would be able to find out a new episode was coming out based on coming across a commercial by random chance or by the people working the show promoting it online. Add that with the fact that it was on a different channel that required you paying MORE for your cable to get it. It WAS available through Disney Channel, a channel more available at a cheaper price, but the entire of Season Two got moved to the more expensive Disney XD, where Disney shows go to die, because...REASONS. With no warning or announcement. I think I found out about Gravity Falls moving to Disney XD because the trailer played during a commercial break. And that's just the START the show's problems. Mixed in with poor marketing, the show would have a crazy inconsistent schedule, where we'd have four episodes a week, a few months of NOTHING, a few more episodes a week, nothing for a few months, a random episode playing between that nothingness with next to no promotion, and all of that happening to the rest of the show until it finally died a slow death with its series finale where four episodes got stretched out for six months. That...is NOT okay. And it doesn't stop with Gravity Falls.

Steven Universe, OK KO, Ducktales 2017, Amphibia, The Owl House, and now Ghost and Molly McGee are all shows that had similar and sometimes WORSE treatments as Gravity Falls did, where the networks gave next to NO marketing, the creators had to promote their own shows themselves, and the airing schedules were so inconsistent with wildly long hiatuses that only the most dedicated fans were willing to keep watching. General audiences (mainly kids) weren't willing to keep up with shows that had ongoing stories if the episodes stories kept being too spaced apart and never had reruns as frequent as other shows like Teen Titans Go or Big City Greens (Or whatever's constantly on network TV nowadays. I don't know. I mostly watch shit on streaming).

The people of the animation industry is catching onto all of these tricks, and they're getting sick of it. They're getting sick of inconsistent schedules. They're getting sick of trying to bend over backwards in every possible way to make the show they wanted. By either making serialized content as episodic as possible so the network could air it more or by condensing their stories as much as they can, already expecting that forced cancellation to happen sooner than later. And in some cases, they don't even get the luxury of being told their show is ending. Did you know that Inside Job and Paranormal Park both had seasons that were already in development before Netflix pulled the plug shortly after releasing new episodes of their shows? Did you know that The Ghost and Molly McGee was already working on a Season Three before Disney shut that down so they had to force out a series finale that would still be good despite the cancellation? Because it's true. It's ALWAYS true. Creators want to make MORE, but the studios won't let them because they didn't profit off of it. Except they WOULD HAVE if they treated it better.

I want kids to grow up with characters that stick around through their childhood, just like I did with mine. I want kids to have their own Ed, Edd n Eddy, Codename: Kids Next Door, Phineas and Ferb, or Kim Possible. I want kids to watch shows that last more than two-three seasons, stick around for years, and leave an impact as if they have all the time in the world because to them, it feels like they do. I want kids to have a show that ends on a high note because the creators wanted it and not because the networks demanded it. But the unfortunate thing is that it doesn't seem possible nowadays. Because if a mostly episodic show like The Ghost and Molly McGee fails, despite being charming and inoffensive and something most kids will love, the what hope IS left.

[raven-at-the-writing-desk]

In what ways would you change Yuu (or would you get rid of them entirely)? The writing feels inconsistent on their place/importance. If they were just a conduit for the player to watch the events unfold that's one thing but in another story they are an active player.

I'd personally play into the beastamer aspect more. They are supposedly the reason why Ace, Deuce, and Grim were able to work together thus I'd want them to have more agency in making plans, giving orders, etc. Rook calls them Trickster but in what way (lol). The vagueness of being a self insert pains me. I'd also want to give them some magically infused weapon (or has a magestone embedded) just so they aren't fodder or sideline material.

Mmm… As much as I dislike the blank slate self-insertiness of Yuu (I’d prefer to read about an actually realized character), I wouldn’t want to get rid of them altogether. I think they’re important for the role they serve in the narrative even if in execution is inconsistent and not done well.

The problem with “changing” Yuu is that there has to be a certain level of ambiguity due to the design of the game. You cannot give them too much personality or you risk alienating the audience that likes to project or self-insert. There’s also a limit to how much uniqueness a mobile game can lend its players characters; the format isn’t exactly known for having super in-depth player arcs, it’s known for their colorful casts of rollable characters. The devs have to toe that line carefully, not to mention juggle Yuu’s participation with letting the other characters shine. It is for this reason that I won’t be doing a total overhaul of Yuu or just deciding “give them a personality!” as what I’d change about them. Rather, I’ll be proposing alterations while thinking like a dev (ie preserving the current story and as much of the self-insertiness as I can while also trying to give Yuu more to do/say).

Now Yuu, being the outsider to this world, is perfectly poised to have others dump exposition on them. This serves the dual purpose of being able to diegetically explain things to the player. (We wouldn’t get this advantage if the player character was changed to be like… a Twisted Wonderland resident; you could explain some magic things to a layman, but a resident wouldn’t need more common knowledge like country names exposited to them. Were this the case, we’d need an additional excuse for Crowley to take in a native.) It’s also convenient to have them be the “eyes” for the player to experience the world through, since Yuu is able to conveniently be present for most major main story events. It essentially makes them a human-shaped video camera.

I’ve often heard people suggest that if we need a POV character, why not go with Grim since he basically serves the same purpose now anyway. My answer to that is: Grim is also an arrogant asshole who picks fights, just the same as any other NRC student. If Grim were the player character, he wouldn’t be contributing much or helping to guide the other students learn to get along. We need Yuu here to be that driving force for change because Grim simply isn’t capable of it when he’s instigating himself half of the time.

A smaller thing about Yuu that I love is the idea of them being the school photographer! (This is something that is shown in the second anniversary animated video too!) It gives us context for the cards we roll and it implies that Yuu is the one documenting these precious memories. I want Yuu to stay if only for this reason.

Personally, I wouldn’t make Yuu a combatant. This is antithetical to their role and I feel would instead work against them (or at least create a scenario where Yuu has to have some level of battle prowess; this impedes on the self-insert nature of them). Sticking a magic item in their hand makes little difference since they most likely wouldn’t know how to handle it in the moment. (Nor would a magicless human even be able to use some of them; for example, a magestone is completely useless to them.) A magicless human with no combat experience is just another liability to account for, not to mention it actively puts them in harm’s way. It might be cool in theory, but I think in practice it goes against the very concept of Yuu. They’re meant to be here to show that there is “another way” to the NRC students—that violence doesn’t solve all your problems, proof that you don’t need to be a powerful being to “change” others or the world around them. They’re supposed to be underestimated and not seen as much of a “real” fighter, and they’re supposed to prove those notions wrong by demonstrating their worth via other avenues. In this “the weak obey the strong” school, Yuu has to be the one to show them that strength comes in forms that are NOT magic power or battle prowess.

I feel that Yuu works best on the sidelines as a supporter and strategist. Strategy is, after all, half of the battle, and it’s a part that people tend to overlook in favor of the flashier fighters. But strategy is crucial and it can turn the tide against a formidable foe (as we see in the prologue)!! I think this is something the NRC students need to be made more aware of too, so Yuu should stay as the strategist; they just have to be given more opportunities to show off those skills!

With all of that being said, here is what I would change about Yuu:

Drop the beast tamer thing. It gets mentioned prominently like once in the prologue and then never becomes truly relevant. Maybe it’ll become important when it comes to taking down OB Grim, but that will be SO late in the main story that the payoff doesn’t seem worth it. There are no examples of Yuu’s beast taming skills ever being used in the main story, so the whole “oh you have the makings of a beast tamer” thing is so useless. If you really want to keep it, then let Yuu’s innate talent/skills for beast taming help them out at least once per main story book. This means I’d want to see instances of Yuu getting other creatures (ie not just Grim) to help them out.

Allow Yuu the agency to act on their own when it comes to finding a way back to their own world. Going home is so often relegated to a single line or a few sentences and then not addressed again until next book. Have Yuu take initiative instead of waiting around for updates from Crowley. They should go out and ask questions, investigate on their own, etc. Maybe have them get involved in each book’s conflict because they happen to get mixed up in it while conducting research instead of being TOLD to go and fix a problem. Book 6 marks the only real time I can think of Yuu making a drastic decision against Crowley’s advice. It puts them at great risk, and that’s something they’re willing to take for the sake of saving their friends. We need more moments like this throughout the rest of the story. However, Yuu won’t be allowed to do whatever they want unrestricted because 1) it falls out of the scope of a mobile game title and 2) we want to largely retain the capacity to self-insert. So when I say give Yuu more agency to act, I mean it ONLY in the sense of being more proactive in their efforts to get home.

Add a short comment or two from other characters depending on which dialogue options are picked for Yuu. It would be too ambitious to incorporate a full-on branching storyline or strong “choose your own adventure” elements, but at least have the other characters consistently comment on whatever brief dialogue option Yuu has rather than ignoring them 90% of the time. This wouldn’t alter the story in any way but it sure would be nice to have a little more flavor text and more of Yuu actually being acknowledged as present.

Yuu should fully commit to being a planner and strategist. We get to see this aspect of Yuu like once or twice in the prologue (when they tell Grim where to spit fire at the ghosts/planning how to beat the Phantom in the mines) and then are left to extrapolate this to the rest of the game. Maybe you can argue they figured out Azul’s scheme in book 3 too, but this isn’t good enough. If you’re going to set up the idea, then have consistent segments in each book that reinforces that idea. Have Yuu brainstorm ways to jailbreak in book 4, have Yuu be perceptive enough to notice that Malleus isn’t feeling great in book 7 (only for Malleus to brush them off/insist he has a solution), etc.

Have a short story segment that explains how or why Yuu earns their nickname “Trickster” from Rook. We got this with Floyd, so the other known nicknamer should reveal this, especially since the name “Trickster” implies intelligence and cunning. Yuu should have an opportunity to demonstrate this (in book 5 maybe?), which earns them Rook’s respect and the new title. This should also be informed by other parts where Yuu shows how smart they can be.

More time bonding with Grim. I say Grim specifically because I commonly see him as a hated character in part because of how he “steals lines/time” away from Yuu. (Adeuce and Malleus are fine as they are because the former already stick up for/help Yuu out and the latter is meant to stay mysterious until late in the main story.) This means that if you don’t already like Grim, the whole “Yuu chases them to Styx HQ to save Grim” plot point in book 6 rings hollow. To truly build a bond with Grim, please give us moments prior to book 6 that show how much they care for one another and are linked to each other as partners. Times when Grim causes inconveniences for Yuu don’t count. Give me instances of them cuddling at night or talking to each other about their hopes and dreams or whatever. This would establish the value that Grim sees in Yuu, as well as the value that Yuu sees in Grim. It makes it more believable that Grim would cry when he’s alone or realizes he hurt his partner, and that Yuu would defy the headmaster’s advice and put themselves at risk to save Grim.

Better incorporate the ghost camera and its usage in the main story. The ghost camera provides an in-universe explanation for gaming meta (ie the card illustrations); in the main story, it’s hardly ever mentioned save for its introduction in the prologue and when Yuu takes a picture of Mickey with it. What should happen instead is Yuu will take a picture of the characters involved in that chapter. This way, it’s a physical reminder of the time everyone spent together and the bonds they’ve developed. It further strengthens the idea of the students learning to get along and Yuu being there to facilitate that while also keeping the ghost camera relevant.

More time where Yuu actually bonds with/“changes” the other characters. One huge gripe I have with the main story is that we’re TOLD that Yuu’s presence changes and improves the boys for the better, that they teach them how to get along. Very little of the actual main story supports this (outside of the prologue). At best, Yuu has a very short chat with some of the OB boys at the end of their respective book. Yuu should have a little more time in this regard. I don’t know, maybe Idia is still struggling to socialize when he comes over to play video games at Ramshackle so Yuu has to gently encourage him to give it a try or says something to help include him in the conversation. Little things like that! Keep the strong interactions the other characters have in changing the OB boys (like Trey being the one to rush to Riddle’s side, the twins teasing Azul, etc.), but have Yuu help facilitate them opening up emotionally and being vulnerable with one another.

This last point is debatable (I keep changing my mind about it), but possibly make a point of showing how Yuu is adjusting to this new world. This honestly might mess with the self-insert aspect (which is why I debated to leave this out), but I also feel like it might be interesting to reinforce Yuu’s desire to go home h demonstrating homesickness or issues with settling into Twisted Wonderland.

To summarize, the changes I’d make largely involve making TWST commit to briefly mentioned details (that they largely don’t follow through on) and making Yuu actually do a little more to warrant crediting them with resolving issues + fostering friendships. A lot of the problems that exist now are due to promising a lot but then poorly executing on what was promised.

[literaryvein-reblogs]

Hey there!

I have something I haven't worked on in almost a year and I hadn't written the chapters in order. As a result, I'm left with plot holes.

Do you have any tips on getting back to work after a long time and how to deal with plot holes?

Love your work, by the way :)

Writing Notes: Plot Holes

Plot Holes - inconsistencies or gaps in the storyline or character development.

They are formed when a narrative stops following its own logic.

Viewers and readers only have the details you’ve provided to immerse themselves in a believable world.

If you present a narrative without thinking through the implications of each plot point, you may create an unsatisfying and incomplete story, which can lose your audience quickly.

Types of Plot Holes

Plot holes betray your audience’s trust and can lower the quality of literature, film, or television shows. Examples of plot holes include:

Factual errors: Factual errors—like incorrect dates or wrong information—can lose your audience (especially in historical fiction). For example, if you’re writing a romance set during the Civil War and your hero escapes in a jet, that would be a factual error that would create a logical plothole for the audience.

Impossible events: Any occurrence that defies laws of physics or science is an impossible event—like a character who becomes a professional dancer overnight to win a big competition, or a person who can hold their breath underwater for 20 minutes to escape a monster. Impossible events remind audiences of real life logic, which can distract and remove them from the story. Of course, as the author, you can build a world where impossible things do occur and seem logical.

Illogical plot developments: Events that upset the flow of logic can create huge plot holes. If you’ve built a world without magic, a character cannot suddenly be capable of magic to get themselves out of a jam. An all-powerful bad guy bent on world destruction won’t suddenly have a change of heart or point of view for no apparent reason. Audiences want the narrative you’re weaving to track with the details you’ve provided. They want to know that they are emotionally investing in a story that is going to make sense and pay off.

Contradictions: Introducing a rule and then breaking it for convenience later on is an example of a contradictory plot problem and produces inconsistencies within your writing. For example, if you establish in the beginning of a book that characters cannot come back from the dead, but then you suddenly have a deceased character return for story purposes, that creates a big plot hole. Contradicting your own rules destabilizes your narrative, depriving audiences of the grounded sense of information that they need to immerse themselves fully.

Unresolved storylines: Even your subplots should have their own story arcs—too many loose ends can make a story feel incomplete. Leaving loose ends can also lower the stakes of your story, since there are no real consequences to anything that happens outside the main plot. For example, a character who is introduced with a storyline that conveniently influences the plot or protagonist but is forgotten about later would be an unresolved storyline.

Tips for Fixing Plot Holes

When you reach the end of the film or book you’re writing and suddenly discover major plot holes, it can take a lot of hard work to write yourself out of a jam. One of the easiest ways to fix plot holes you come across is to identify potential ones early on in your writing process (like during the outline or first draft) and prevent them from occurring in the first place.

However, it can be nearly impossible to anticipate every avenue for your narrative, and sometimes your story needs tweaking. Your job as a writer is to do as much as you can in order to tell the most complete, understandable story for your audience.

Here are some tips for doing just that:

Think things through. Spend time worldbuilding in order to give your story structure and somewhere real to live. Establish the rules and boundaries of your imaginary world and how everything exists within it. Figure out the power dynamics, setting, backstory of your narrative. Think about how you want your story to develop, the cause and effect of each plot point, and where you want your main character arcs to go. Keep track of those details as you write to keep your world consistent.

Research your topic. If you’re writing a book about a hospital, you should be aware of all the common medical terms and how to use them. If you’re writing a movie about airplane pilots, you should know everything you can about being and becoming one. Common advice is to “write what you know,” but you can expand on what you know by doing the proper research. Research from reputable sources is the best way to avoid factual errors and can save you the headache of having to rewrite with new or different information later.

Provide setup. By establishing certain guidelines for your universe, you, in turn, establish them for yourself as a writer. When an easy solution to an impossible problem comes out of nowhere, it’s considered an example of “deus ex machina,” and is generally frowned upon by critics and audiences. Provide proper setup of your world by describing earlier events and characters—enough information to foreshadow an occurrence later (so that it doesn’t seem unwarranted) but not so much you drown your readers or viewers in exposition.

Pay off the information you set up. As the creator, you must find the balance between giving your audience too much information and giving them little enough so they’re intrigued for more. You’re also responsible for making your readers or viewers understand why certain elements of a story are important. This is one of the purposes of the Chekhov’s gun plot device: If you’ve written a scene where a particular element or object is introduced at the beginning, that element or object needs to be used by the end of the story. Otherwise, your readers may feel like they’ve wasted their time or like the writer forgot about their own details. Introduce things and provide enough information so that it pays off in a satisfying way by the end of your story.

Take a break. If you find yourself drowning in illogical plot points, walk away from your writing. Sometimes, an author can be too close to their writing project in order to see it objectively. Revisiting your writing later with fresh eyes may offer you a different perspective or new strategy that could possibly help solve any issues you’ve come across.

How to Get Back Into Writing

When you first return to writing after a long hiatus, you should have a plan for building up your writing practice and getting creative juices flowing the way they once did. Here are some tips to get you back to the craft you love:

Read a lot. Nothing can jumpstart a return to writing quite like some inspiration. It doesn���t matter what you choose to read, but you may find more relatable inspiration in contemporary authors like Stephen King and Dan Brown than in classics from a past era.

Make a schedule to establish writing habits. Any published author will tell you that the secret to becoming a better writer is getting into a routine. In order to establish a writing groove, most authors write at the same time every day. Some aim for a specific word count or page count, while others simply write for a fixed amount of time. If you have a day job to balance, you can schedule your own writing session at any time of day. The key is to keep writing at the same time over a prolonged period.

Assign yourself creative writing exercises. If you want to build up your writing muscle after a long time away, you simply need practice. Creative writing prompts can be a great way to kickstart a writing practice.

Start a journal or digital document for story ideas. Nothing derails a return to writing quite like writer’s block. But you can stave this off by keeping a running list of novel, short story, and even nonfiction book ideas. The process will depend on how you work best. Maybe you prefer to jot down broad ideas, or perhaps you’re the type to sketch out ideas in great detail before you start the actual writing process. Either is fine; the main goal is to not find yourself staring at a blank page and unable to think of an idea.

Get ideas from real life. Your actual life is full of sources for writing projects. Base your main character on a family member or your best friend and use their real-life changes to guide your story’s character development. Use details about your hometown to build the world of your fictional story. Or, if you don’t want to invoke any person or place that’s too connected to you personally, take it upon yourself to do some people watching. Sit in cafes or libraries and see who comes in. You never know who might provide you with that spark of inspiration.

Comb through old writing projects. Revisit the works of your younger self and see if there’s an old work-in-progress that might be worth revisiting. Perhaps fresh eyes will give you a thousand ideas as to how to develop what’s currently on the page, or perhaps you’ll remember why you abandoned the project in the first place and turn your attention to a new book project instead.

Get ideas in unorthodox ways. If you’re still short on ideas, try random idea generation to get yourself going. For instance, pick up a great book you admire and start the first draft of your novel with the same first word. Or start your draft with a totally random word and then write a first line that puts that word in context. Try freewriting without an outline—but perhaps only as an exercise since it’s really hard to freewrite an entire book without meandering. Don’t be too precious about the story you make up. If it’s your first time back in several years, no one is expecting you to write a Pulitzer Prize winner.

Brush up your creative work as a content writer. Content writing tends to fall into two categories: marketing (particularly branding-based writing for the Internet) and technical writing that explains how to do something. Compared to fiction writing, there are a lot more paid jobs for content writers. If you can get one of these jobs, you can brush up on the mechanics of your writing—from grammar to syntax to clear explanations—and later apply that to your creative work. You can also rebuild your writing skills by blogging or just keeping a private diary.

Write for writing’s sake. The sobering reality is that most story ideas will not be published, much less end up on a bestseller list. So rather than invest a lot of time triangulating your writing for commercial appeal, be true to yourself. Write about what excites you, give it a strong point of view, and invest in the art of writing fiction for no other reason than that you love it.

Sources: 1 2 ⚜ More: Notes & References ⚜ Writing Resources PDFs

Plot Holes & Other Structural Issues

Structural Edit ⚜ Book Editing Checklist

Thanks so much for your kind words! Glad to hear you're getting back into writing. Hope these notes and tips help :)

[junkdrawerfan]

A Batman Fanfic Idea:

Tim is a Creature, an answer to a prophecy that spells the doom of the coming universe. On his 18th birthday, the dark blood inside him will rear up to rip away his human facade and all of earth and the many plants known and unknown will be crushed under his heel.

It is a prophecy that has been guarded by the magical community for eons. They know the signs. They know what this doomsday child looks like. The day Timothy Jackson Drake is born, the magical community turns its attention to stopping the prophecy, of sealing the creature away in human flesh and bone.

The problem is that nothing works. Every ritual and spells falls away to fate. It is written. Tim will bring upon the doom of the universe. So what if… they just don’t let him turn 18.

It works for a few years. Messing with time has side effects. People don’t remember but they do? Villains get smarter and tougher. Magic feels less potent as more and more is siphoned of to hold back the flow of time. Mutations occur, ripples in the time stream that twist ally to foe and foe to ally.

(They try to kill him. Three “years” into the whole mess, Tim falls asleep while Bruce and Kon hold his hands. And then he wakes up the next day, a whole day older, in his coffin during his funeral. No one ever mentions it (not enough remember and those that do can’t). The prophecy will not let him die before his time.)

It’s not possible to keep the whole world stuck. Some events can’t be undone. Natural disasters persist even as time doesn’t. Some people age. Some don’t. Damien grows. Dick and Jason and Steph and Cass and Duke and Bruce don’t. For “years” no one notices.

And then Damian is only a year younger than Tim and the inconsistencies become too much to handle. The magic breaks. The spell shatters leaving a gash in the world.

For the first time since his 17th birthday, Tim ages a day. And then a week. A month passes and he can feel his hair growing longer for the first time in six years and has a panic attack.

People start to remember. Bruce goes form 35 to 41 in a week. Dick complain about back problems and aching joints of a 30 year old.

But there is nothing they can do. It was always unsustainable. There’s discussions of trying new ways to kill him, to freeze him. But even a frozen bodies feels time.

His birthday is a countdown.

Damian refuses to give up even as everyone else does.

The whole hero community holds its breath as the last month approaches. They prepare for war.

Tim prepares for death. He makes his peace. He says his goodbyes. He writes letters. It’s like a terminal illness. There’s enough time to say goodbye. There’s not enough time to heal it.

Tim and Kon get married. Kon is 25 now and beautiful. Tim, as always, forever 17. But they won’t have enough time for anything else. The wedding is gorgeous, expensive, a little gaudy. Bruce pours all his energy into planning it. He can’t fix this. There’s nothing he can do to save his son but he can give him two perfect days. It’s beautiful and they record every minute of it.

(Jason is Tim’s best man. It’s funny. Laugh!)

Damian never gives up. He runs to the League, searching the depths of his grandfather’s library. Oh the hero’s asked Ra’s. They scoured the globe for solutions. No knowledge forbidden in an attempt to stop the apocalypse. But there are secrets only family can access, records so lost to time that Ra’s barely remembers them.

He takes Jon (17 and Damian only 16, once again similar in age) with him on the quest, runs himself ragged against mortal and supernatural foes alike. He nearly misses the wedding, surfacing just long enough for a day of family photos and tearful congratulations that do nothing but add to his feverish resolve.

(His family has lost so much, has suffered in ways no family should. He loves them. He aches for them. His brothers and sisters. His aging father. He can’t lose this family when they never got to have enough time.)

He finds a portal to the fea world. The space between dimensions full of holes after six “years” of holding back time. He spends six months within its borders and dances a deadly game of wit with Kings and Queens older than time and returns to the mortal plan to find only 3 days have passed.

He returns to the manor with an untried solution, one he had to pry from the lips of an undying seer trapped within the depths of a catacomb (hard won after outsmarting a face stealer, wondering through an impossible fog, and facing far too many dragons) two days before Tim’s birthday.

The blood ritual is done with all the family present. There is a gash along Damian’s neck that will never stop being angry red, magic always pulsing beneath the skin. But it is worth it to see the hope flare in his family’s eyes.

The solution is deceptively easy and terribly dangerous. You can’t stop fate but you can make it wrong. Tim’s creature blood will rise to the surface on his 18th birthday. But what if it comes a day early. There is a risk that it will all go wrong, that the creature will always ache for blood and death even without fate pulling it along. But, Tim argues, at least then he can die (no one finds this as reassuring as he’d hoped).

Bruce and Kon hold his hands — a parody of that moment three years ago when he fell asleep — and Tim braces for pain. But there is none, just a new taste of magic and the ease of his body morphing. Ears twisting into points, his hair turns feathery and fluffy, pupils spinning into triangles. There is more. Seams along his cheekbones and neck he knows can open into extra mouths and eyes. A tail curling along his spine. His tongue splits at the tip. But his limbs do not twist into anything inhuman (though maybe he could if he tried). And his mind — oh his soul — stays his.

As the clock strikes midnight on Tim’s 18th birthday, nothing happens.

[avidfics]

Chasing you

Summary: You’ve been on the run from Carol after sending a drunk voicemail. A month later, Carol has found you and doesn’t plan to let you go.

A/N: Came out of a writing hiatus cause I love this woman. There’s not enough carol x reader fics on this app and she gives me the warm fuzzies. Comments and reshares are appreciated :)

Warnings: Pretty PG-13, playful teasing, fluff, some tears, few misspellings, mentions some characters from The Marvels

Three things were painfully obvious as you woke up. This wasn’t your bed. These weren’t your clothes. The “Space Girls Do It Better” sleeveless crop top didn’t belong to you. 

Oh, and there was a fluffy, orange flerken licking its genitals ontop of your chest. A pretty deep cleaning by the looks of it.

“Um.” your voice croaked, the result of a long nap. “Mr. Flerken sir, I’m going to move you and place you on the floor-” Three tentacles shoot out from the confines of its mouth, wraps around a nearby metal dresser, and swallow it whole.

An audible nervous gulp can be heard from your throat. “New plan. Leave when it pleases you.” 

Armed with the killer fluffball, you creep along the cramped halls of the spaceship and take in the colorful murals that are painted inconsistently through the halls. One reads vaguely familiar, “New Jersey.” 

What’s a New Jersey?

In the back of your mind you have a nagging suspicion of the identity of the owner of the ship. But if you were right, then that would be a bigger problem than someone undressing you while you were unconscious. 

You enter the main pilot room as a childlike scream jars both you and the flerken. 

Kamala Khan’s wide eyed, all teeth smile shines from across the room. “OMG you’re awake!”

“God, no.” you groan. You plead to the heavens that this is all just a stress conjured dream even as the teenager morphs a hard light disk to propel her forward to tackle you into a warm hug. “Kamala, please tell me you're the owner of this ship and you’ve gotten your spaceship driver’s license early?

Her lips curve. “Sure.”

A relieved sigh depletes from your body.

“Sure, I missed you. But this is Carol’s ship. After you left she’s been tracking you for the past few weeks. We got an alert that you were involved in a bar brawl on the planet Aladna yesterday. When she found you, you were already beaten unconscious and bleeding from the attack. Carol scooped you up and took care of your injuries in the med bay.” Her signature dopey smile returns. “She nearly blasted the whole bar apart when she found you. It was epic.” she sighs with a faraway look.

Her smile wouldn’t be so bright if she knew you had no interest in being on the same planet yet alone on a small ship with her honored captain. Your frantic eyes start to scan every nook and cranny of the room. As if Carol would materialize from the launch keys at any moment. You drag Kamala to the control panel and start to hit buttons at random. “No, none of this is epic. Kamala, afraid we need to cut this reunion short. Drop me off at the nearest planet or station. Shoot, give me a space jumpsuit and I’ll simply float outside in outerspace. But I Can Not. Be. Here.” 

Kamala gives a sly look at how you’re acting. “Carol said you’d try to jump ship once you woke up.” she smiles as she pets the flerken still in your arms. “Something about you being embarrassed over something moronic.” 

And there it was. Until now there was a slim grasp of hope that Carol hadn’t known what you did but this just confirmed not only did she know but she wasn’t going to let it go. Goody. No way would you tell the whole story of how you’d gone out drinking with some Skrull girls because Carol was driving you crazy in her freaking halter tops. Then you found out she was married to a prince! Sure, it was only a political marriage but still the revelation made you want to punch something or someone. So drunk out of your mind, you left the most pathetic voicemail of all time sounding like a teenager with a crush. Talking about how she attracts you more than the rules of gravity. What was that! The voicemail ended with your declaration to take the prince of Aladna in a fight if that’s what it took to get her attention.

In your defense, she does like to fight. So you did punch someone…or several someones at the bar.

“It’s nothing.” you blink away the memory. “Carol didn’t have any right to kidnap me off the planet”

“Aren’t you a little old to be “kidnaped?” the dreaded voice calls out from behind you both.

You whip your head around, guilt written all over your face even as your jaw slackens at the hottest, yet fatigued, space hero in the galaxy. 

But at the moment Captain Marvel just looked like Carol. A half smile gracing her lips even as she leans against the entrance. Bare arms out, another damn crop top that barely covers her belly button, and an empty space of tantalizing skin at her stomach before the top half of her supersuit hangs limp at her hips. 

It was giving off duty lesbian about to repair an engine and it was making you absolutely feral. 

Which is why you held the flerken outstretched in her direction.

“Not another step, Danvers.” you warn. “This flerkin here has taken a liking to me and isn’t afraid to defend me.”

Carol tilts her head and her full teasing smile tasks force, causing a full quiver in your heart.

Taking slow, meticulous steps toward you, not caring about the fur-covered danger dangling from your hands. “You’ve taken a liking to my pet, sweetheart?” 

A spurtle of incoherent nonsense leaves your mouth. “It found me when I woke up. I even named him Ginger.”

“Real creative.” her deadpan sarcasm does not go unnoticed. “Put Goose down before he decides to eat you.” You get ready to fight the command but ‘Goose’ does a loud meow and you decide that’s him agreeing with his apparent owner. 

Her eyes flicker to the noisy teenager next to you. “Kamala, go find another wall to destroy.”

“Aye aye, captain.” You make a desperate attempt to grab Kamala but the small betrayer just mouths “You’re in trouble.” before prancing away. 

With Kamela’s exit the room is too quiet and the once spacious room feels tiny and empty, leaving only the bruising reminder of why you’ve avoided Carol for weeks. Sure, your friend can fly, shoot rays of energy from her fist, and literally crush you with her bare hands but none of that ever scared you. It wasn’t your physical body you were afraid she would break, but the fragile, sensitive heart you always protected. But then there was Carol with her small, gentle smile and her laughing eyes and a warm presence that made you want to be soft instead of sharp with pointy edges.

Under Carol’s gaze you were a giant raw wound that was left open and too exposed. You just knew Carol could see it. 

Which is why getting off this ship was imperative. With a new, hardened resolve you turn around and commerce pressing every button in sight.

“You trying to order a pizza? Because there’s an easier way than having us crash into the nearest asteroid.”  The pull of her voice is so strong after weeks of zero contact but you ignore it nonetheless. Not that it deters Carol. “But maybe your bad driving is a result of getting your ass whooped down on Aladna.”

She’s baiting you. Do not give in.

“I mean the fact that you got your butt handed to you by a group of people who normally only fight in song has to make you mad, right?” The silence in response finally gets to her as she stomps up to the dashboard controls and undos every button you’ve pushed in concession. Each time she reaches for a button near yours, fingers a centimeter from touching, you yank away and take a step away. She grunts in return and counters with another step closer. 

Her next jap finally hits her mark with stinging precision. “Maybe next time you should ask the Prince for backup.”

A response fires out your mouth even as you slam your hand against a particular shiny button. “I had it handled, okay? That pretty boy prince might’ve impressed you somehow but his presence in a fight is as needed as yours is to me right now.” The lie turned your stomach and made you feel like Goose’s shit. “You had no right and no reason to take me off that damn planet because I had it covered. Just drop me off at the nearest planet.”

Carol could smell the lie a mile away. The words bounced off her chest. If anything she was trying to hide her arrogant grin at successfully getting your undivided attention, knowing it would make you more pissed. Which was always an adorable sight.

When her sources flagged a sighting of you on Aladna she’d left the spaceship at supersonic speed to reach you after hunting your trail down for the past month. 

At first, friendship was all she needed. But time spent together on various missions gave her deeper understanding on how darn sweet you were despite scratching at anyone who tried to get close. 

But once she clicked play on that cute, yet slightly violent, voicemail any vague restraints of being only friends were dashed. Now here you were, her prickly kitten, and she wasn’t going to be deterred by any of your rounded jabs. 

Now here you stood. Causing internal issues to her ship's mainframe. Slight bruises marring your delicate skin. All reminders that you’d rather be dropped in outer space than occupy the same room with her. Well tough luck. Patience was never her strongsuit. 

A blur out of the corner of your eye was the only warning before the sudden warm body surrounded you from behind. Two unyielding hands grasped yours in an attempt to halt any further error messages from appearing on the dashboard. “Are you not satisfied with my ship, sweetheart? Because you’re awfully determined to break it.” In another determined step she removes any space separating you two until her front is flushed against your back. Tense doesn’t begin to describe how rigid your body gets as you realize, to your detriment, she’s forgone a bra. Even the tiniest move from her causes her soft, malleable breast to move against your back. Your knees buckle even as you silently curse Carol for completely smashing the boundaries of your personal bubble. 

Warm fingers grasp each of your hands and her thumbs caress circles on each hand that shoots straight to your flamed core. A whisper of her lips speaks into your ear, tingling all the way into your spine. “Six. There’s six bruises across your delicate body from that stupid fight. But you didn’t need me, huh?”

The touch and slight reprimand in her voice makes your body shiver. “T-that’s not what I meant.”

“Oh?” You peek behind to see her face as her fingers gently travel down your arm. Brows furrowed with an intense glare as she inspects your minor injuries in detail. “But that’s what you said, no?” 

In an effort to clutch the last remaining shreds of your pride you squint up at her but end up lowering your glare. “Even if you helped me, that didn’t give you the right to take me off the planet.” you murmur. “And who changed my clothes!” 

The gentle hand remains on your arm but the dark look is dashed away, replaced with a serene smile. “Obviously that was me. Like I would allow anyone else to get a peek at what’s mine.” she snorts. As if the idea was simply absurd. 

All fight leaves your body at the new startling news that Carol, your Carol, just called you hers PLUS  she’s seen you naked? 

You gear up to start a rant but two arms twirl you around and hefts you up. Your legs and arms cling to her even as you yell at her to set you down.

Bullheaded Carol ignores you and instead leisurely walks to her pilot seat. As if this was just a normal Tuesday. When she plops in the driver seat, she settles your weight to straddle her hips. Immediately, you try to scramble away but she wraps her arms around you in a metal vise. That damn innocent smile returns. “The chast act ends now. Because I was prepared to let you go but then you left me this.” It’s like a slow motion car accident as she pulls her cell from her pocket and the dreadful voicemail is played at full volume. 

Renewed vigor allows you to break out of her arms but you're too slow as one hand holds you in place on her lap. Making you listen to your drunk declaration of love.

The tears come as you're forced to helplessly listen, already anticipating the mockery that was soon to come, except Carol didn’t laugh. Instead, you felt soft, slow kisses press against your wet check, trailing your tears.

Carol nuzzling your neck is the only thing stopping your crying as you realize she wasn’t laughing. Her tired smile and fatigued smile returns. “You're so dramatic, kitten. Don’t ask me what “right” I have to kidnap you and bring you on our ship after you left a message like this for me. 

Sensing you were no longer a flight risk, her hard grip releases your wrists. Instead, she traces your face, rubbing away your tear trails. “For now on, you're coming back and helping our missions, warming my bed, and if you start anymore bar fights you better finish them or have your girlfriend there to finish the job for you.”

For the first time in a month, a genuine smile graces your face. Brave enough to fully settle your weight on Carol’s lap, you grasp the nap of her neck to angle her lips for a kiss. When your lips finally connect a deep, dragged out moan leaves Carol’s mouth. Her hands slide up your thighs and squeeze your ass. “Don't run away again.” she warns.

“Aye aye Captain.”

[the-sappho-of-lesbos]

Lesbian Pulp Breakdown #2

Here for another pulp breakdown ! (Finally 🙈)

This one will also have spoilers and lots of triggering content. Please be warned.

This pulp fiction breakdown is for Lesbian Love by SV Miller. 100%, absolutely written by a straight man. This book is WILD, and significantly worse than the last one I posted about Alone At Last, which I didn’t think was possible. Because that one was a train wreck.

So in this one we have our protagonist Aggie; now Aggie is married to a man called Jim but she also sleeps around and has affairs a lot. The first three chapters, if I recall, were literally just her having affairs with other men and then getting mad at her husband for accusing her of having affairs. Her and Jim have a very toxic and volatile relationship, as well as being very inconsistent in the way they approach each other, the way the approach themselves and their marriage. It’s wild.

Anyway, she gets to the point where she’s like: I don’t want to be in this marriage anymore. I don’t like him. I don’t like what we’re doing. We’re always fighting, throwing things at each other and then we end up being intimate. She hated it. Then she found an advertisement for a sanctuary away from men that was supposed to heal her, heal the relationship and get her away from there; BUT to get there she had to have a lot of money so she ended up having even more of an affair and putting herself in very dangerous situations to get the money. Though when she did, phew, off she went - she was there. It was all secret and she was given these very weird and ominous directions to get there, she wasn’t allowed to bring certain things with her etc.

When Aggie is there, it becomes very clear to us, the reader, she has just entered a massive cult. It’s also when this book just dives head first into all of its problems.

This isn’t to say Alone At Last was a good book by any stretch of the imagination, however, it did hold little nuggets of positivity, mainly in the areas of acknowledging homosexuality was natural and not having the main lesbian character end up dead or in an institution. This book can’t even say it has that going for it.

This pulp genuinely felt like a homophobic pamphlet fever dream.

There was so much sexual assault in this book committed by a lesbian, but sometimes the author would jump around on if it was assault or not in a very uncomfortable way that felt like it was rooted in a fetish.

So we have our lead lady, Aggie, introduced to this lesbian commune that is run by the lesbian dictator Helen. A rich woman set on assaulting women, keeping them trapped in this isolated location, and “turning” them gay - or as this book likes to paint it, corrupting women to sin.

There is a massive emphasis all throughout the book about how broken, unnatural and wrong lesbians are, ( the very last line is “I feel … normal!”) while simultaneously sexualising them for male titillation. With big strong men to come in towards the end and save them all.

It tries to entice us into the plot with this evil lesbian cult commune plot , where women are forced to pair up with one anther in this instance Aggie is forced to be with both Helen and a woman called Grace ; Grace is also the character Aggie ends up snot being attracted to, but only because she is in a “perverse” place). These women are locked up in torcher chambers if they don’t comply to the Evil Lesbians or try to run away.

In the end this pulp is probably a textbook example of what people think of nowadays when they think of old school lesbian pulp. With terrible writing on top! It was genuinely a slog to get through. Even though it’s relatively small it took me 4 months to finish reading it because it was just so terrible and had no redeeming qualities about it. Just a terrible mess of assault, homophobia and horrible writing.

Let’s hope the next one is better.