#like im not generally someone to care abt plot more than character dynamics

[naisaa]

ough maybe its bc i rly didn’t expect it but i kind of hate that good omens s2 ended with a setup for another season 😭

[mooncircuses]

in sweet magnolias my gay ass cannot stop seeing the rivals to friends to lovers au play out and i may be overanalyzing but jackson and tyler? fuckin. thats not straight...if u are rivals and hate each other why do u interact in the ways u do...look at each other like that??? sacrifice things like that..

jackson is not a great person. some stuff he does i think can be argued was a way to help tyler but still be the annoying rival/teammate there. and in general we know they care abt each other, its just not addressed into anything more than their rival status between them.

personally i think jackson is in deep w internalized homophobia and i think its a common trope with asshole gay jocks in media and the backstory they’re creating for him. it makes sense. he has a bad family life, he doesnt feel good enough, he’s constantly compared to tyler (..and yet still is attentive to his feelings even if he’s the one making him angry/upset/etc.) its a hard dynamic to work through since theyve been rivals since they were babies. theres the overarching forbiddenness of being anything with each other..other than rivals bc of the parent history bc rivals is what’s “expected” of them. i think.

i mean. i hope im not reading into this because it could become a really great storyline esp sine the writing on this show and the small things in the acting and directing are so meaningful. i know annie and tyler are the ship thats common right now, and i honestly see them as nothing but sibling relationship. he never has fondness on his face when he looks at her. it is literally the protective older brother look/check in that he has taken upon himself (for who know how long, but at least since his dad left). its not romantic with her and its clearly not romantic with cece. why is he still with her if the things with annie already blew over? i think cece’s a beard. not necessarily intentionally but maybe intentionally. even though his character is allowed to dismiss toxic masculinty in areas (which, amazing to show that) it doesnt mean he doesnt have internalized homophobia. and the way this town is close knit and everyone knows everyone and u probably marry high school sweethearts and everyone talks abt what’s different, being gay for sure would make people gossip (bad or good) when its not their info to share. so cece is on his arm kinda as backup? or failsafe in case someone is getting close to finding out he’s gay? we can see this: when jackson comes to tyler and gets very very touchy and flirty and stares in his eyes and they both glance at each others lips, tyler pushes jackson and gets touchier with cece (more than we’ve literally ever seen). and he then goes on the defensive bc he is sick of jackson coming in between him and cece and in general, tyler’s own life. (hmm?).

anyway! jackson could get a redemption arc. i think he should. his outright rude meanness should not be excused though. if the show makes a relationship out of that without talking its not a healthy one. we see the harsher banter between them but its still banter-they laugh in the interactions, smile, its not a problem. but jackson does do stuff and says stuff that creates way more harm than he probably realized and its why he’s so lowkey in those situations and is still smiley and sometimes continues. yes, jackson wants attention and a reaction. and this needs to be addressed because he cant ever be redeemed if he doesnt change. the banter is fine, but the “taking it too far and not realizing exactly what he’s done before its too late” is not. and i have hopes of jackson’s character being developed more because if he’s just here to show how tyler deals with things, they didnt need to make a backstory abt them or make jackson the person that is showing us how tyler is dealing with things- they couldve made random players, other characters, or even jackson as not the only one. which makes jackson stand out at this point and they gave him backstory so i dont think he’s just a plot device character like a lot of the characters are.

also... i love rivals to friends to lovers aus with my entire soul bc when theyre actually done properly and followed through on they are always amazing because it forces gradual building and doesnt skip steps and actually develops the characters in depth (both!!) and their feelings for each other too (it has to, and with this build it is realistic even though not everyone falls in love this way..it forces the writers to showcase an actually good relationship bc they have to spend time on it). so. it seems like thats whats being set up because why else would they create a rivals characters with complex relationships with each other if they werent going to turn it into anything more?

[tossertozier]

you mentioned possibly doing a ben or mike writing guide.. would you.. be willing to post a mike one. i'm plotting a fic and im struggling to get my mans down?? also i think abt ur fics weekly bare minimum.

hi there!!! i did my best. i tried to not sound preachy or like a know it all bc y’all know i can barely write. i hope this is helpful in some way!! disclaimer of of course this is all just my opinion & there’s no wrong way to write, you’re the only person who can tell your story!!

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i think the first really important decision you have to make as Person Writing Mike is his

family & background

-are both of his parents alive?

-if yes, what’s their relationship like?

-if no, who’s his primary caretaker? what’s their relationship like?

-if no, when did they die? did he cope well with it? what’s his relationship with their memory like?

these are really really where you gotta start to write mike imo. or any character! i think one thing stephen king is to be admired for is he doesn’t neglect the parent-child relationship as so many people who write youth do. your parents are the most important people in your life for a long time. i don’t think there’s a wrong or ooc way to answer the above questions tbh. canon has really left a wide open field for you to run amuck in.

(example: i’ve mentioned in the past that my & tfat mike being a small adult is no mistake and intentional. it’s a bit of a throwaway scene, but i mention in on pointe that mike’s parents are coming. it’s intentionally done there too. mike is goofier, more outgoing, more immature in general in that fic in the small bits he’s in & that’s all a response to his familial life. )

culture + friendships

after you answer those questions, important follow up questions are:

-are the losers his first set of friends?

-how much social exposure has he had?

-has he dated? who is he attracted to?

-who influences him? (celebrities, family, culturally)

-what are his cultural interests? what does he do in his free time? how would that impact how he interacts with the rest of the world?

again, no wrong way to answer these. i’ve seen a super broad spectrum of indirect answers to these questions. even thinking about where he might pick up patterns of speech can make him feel much more like a realized character. i’ve noticed some people dip fully into aave to an extent that doesn’t even seem logical in their character’s current situation & it can really seem like a caricature, but i think to write mike without any sense of aave at all is a little ?? too. just be cognizant of it is my only real advice here. it doesn’t so much matter as long as you don’t forget who mike is which next point

humor & personality

-what do you think he would find (shows, comedians, youtube videos) really funny?

-does he have something he quotes often? something he started saying ironically but never stopped?

man i know i’m all there’s no wrong way to write mike !! in this post but i will say real quick that i think mike is funny and i don’t really respect depictions of him where he’s not. i think this is where the movies really just fucked up. book mike drops some of the funniest lines of the book. and honest to god tip is to write out a scene as you feel the urge too, look away for five minutes, look back and give half of richie’s lines away. (or... dialogue.) this sounds like a joke but it was what i did when i first started writing & tfat

i’d always be like “n the funny part goes... to richie.” and thats a fandom inclination too. nooooo. avoid this trap. it doesn’t even make sense. have u ever been in a friend group where only one person... makes jokes? that’d be genuinely so weird. especially bc if you give the joke away to someone else, you can also build on it. amazing things start happening when u start thinking of the characters in flexible patterns. like for example, i almost always give absurdist humor to stan now. wholesome to ben.

mike’s humor is largely situational to me. solid comedic timing & he’s an observant person. sometimes i read back my own writing & have to change the pov bc richies making jokes about things he would never ever notice to make fun of. mike would. mike genuinely sees all. i think he’s just got one of the most analytical brain of the losers. & i think intelligence is subjective and people are smart in different ways but i think it’s foolish to write him as anything other than incredibly intelligent both academically and emotionally. he’s just a natural observer and pattern notice-er. which brings me to my next mike thing:

love & selflessness

i think the biggest part of mike being harder to flesh into a fully realized person is the fandom tendency to make him kind and nothing else. here’s mike. he’s nice. next. bc the book kind of points out his selflessness in his decisions and it makes itself one of his strongest character traits.

especially bc nice seems to trump him having any other emotions. ...no?

i believe in general, but ESPECIALLY in the case of mike, that kindness is a choice. it’s one i genuinely believe he’d make, over & over again. but a choice he makes. he gets annoyed with his friends being annoying like anyone else would. he gets hurt when he feels left out. he feels tired & anxious & hungry and all those other human things. sometimes he might not let it show outwardly, but there’s a difference between that and not giving him feelings at all.

people are selfish. it’s a defense mechanism. it’s to protect us. it’s not a bad thing. we think of how the world impacts ourselves first. we don’t always act upon those thoughts or voice them, but don’t forget to let mike have them. he doesn’t need to be happy for his friends all the time, or rooting for them or supportive. he should have his own things going on.

also. mike’s not a doormat. yes, he stays in derry. but those were life-death consequences for generations of children. it’s really not comparable to almost any decision mike would make in a pennywise free universe. yes, he made a sacrifice in the book but i don’t think he’d just lay himself down in any given universe to whatever fate wants to hand him. but this is where i end this topic bc i’m actually only barely beginning to get to this topic in my own fic!

it’s hard writing the losers young sometimes bc i do feel relationships are naturally a little unbalanced based on basic maturity levels as young people. sometimes friendships just are unbalanced bc of who people are at that time. everyone involved can still be good people in these relationships. it’s about growing together and learning how to be good friends to each other.

for example, in &tfat: certain losers are always checking in with others. others are really wrapped up in their own shit and don’t really notice what bothers the others. it would probably take a chart the size of a textbook to explain how i think this dynamic wholly pans out in full. and yeah, i think it grates on mike a little bit that he is always the checker and never the checkee.

but even when mike snaps, even when he gets upset, i always write it coming out of him with a lot of love. i genuinely think mike, regardless of experience in that fic, has the deepest understanding of love as its own concept and an understand of how exactly it rules his life and and his relationships. mike knows to feel strongly about something he has to care about it. there are lots of things he just doesn’t care about. in the book it’s stated he’s difficult to connect with as an adult. he’s distant. he’s focused on what he wants to focus on. i think mike is actually the most interesting when he becomes a little bit of a disaster man with very little time for what doesn’t interest him.

which last thing, dislikes & disinterests

-what annoys him?

-what makes him genuinely angry?

-what bores him to tears?

i always make jokes that i bring up the nastier parts of the losers bc i love nasty boys but thinking of things people don’t like is as much a part of them as the things they do.

for example, in &tfat, i write richie as making fun of “nerdy” things like anything you could find at comic con. i write bev as not giving a fuck about sports. bill doesn’t care about richie’s music tastes. eddie hates getting condescended to.

bc of the ... kind thing, mike’s one of the harder losers to do this with. i genuinely think mike would listen to any of his friends tell him about anything. & he knows, in return, they can’t say shit when he wants to ramble about history. but dislikes can also be super situational.

again, for example in & tfat: mike doesn’t like when his friends talk about college right now. no one is really being sensitive to him at all. he hates getting blamed for stuff that isn’t his fault, mostly bc it keeps happening.

anyway. i based a lot of my mike (mostly sense of humor and personality) off of a mix of real life friends of mine. it’s a luxury. i know. i’ve been blessed to have friends from literally all walks of life & for me borrowing little habits & quirks & sayings & jokes to slip into my fics and characters is my way of writing one massive love letter to those ive known. i hope i’ve helped you in some way anon. n if not.... don’t be sad i’m hardly one to take writing advice from anyway jandjxjx

overall, as i used to do often, i’d genuinely stop myself and say: is this a person, or a convenience for the plot? and if it was the latter, sigh, and get my backspace key ready.