#like with actual prose and not just me brainstorming

[bookshelf-in-progress]

Long-Running Story Ideas That I Very Much Wish I Could Actually Write

Original Fiction

Shadowstruck

Lily Between Worlds

Cardinal's Map

Paper Wings

A Beautiful Tomorrow

Henry and Mouse

Starfall

The Dust That Falls from Passing Stars

Cinderella retelling

Starfall novel

Arateph

The Princess and the Pea

Rapunzel

Snow White

Cinderella

Half-baked ideas for Little Red Riding Hood, The Goose Girl, and the romance of Auren's parents

Other Fairy Tale Retellings

The Tattercoats Retelling

Traditional East of the Sun, West of the Moon retelling

Political Goose Girl retelling

The Servant's Crown

Twelve Huntsmen retelling

[wufflesvetinari]

hi!! okay so i really loved that one fanfic you wrote (3:16) way back when, it's honestly one of my favorite fanfics ever but I have a question for you!! I've honestly adored your writing style and techniques and I was wondering: what is your writing process? Not just plot wise (although yes that!) but also prose-wise? because honestly, the first thing that drew me into your fic was how FUCKING good your prose was and I was just in absolute awe reading what you had written, and it sort of started me on a journey to improve my own prose and make it sound nice.

so uh yeah!! what is your writing process and if you have any advice for how you write so beautifully (Not just prose wise!! plot and character wise too haha) or just like. writing advice in general, i am ALL ears <3

oh this is so incredibly sweet, thank you!!!

i've tried to marshal some thoughts...tbh i am always envious of effective writing that is UNLIKE mine, so there are lots of ways to go about this. (and also i am just Some Guy.)

i'll focus on prose things i think about during writing/revision b/c otherwise we will be here all night...but imo some of this overlaps with effective pacing, character, etc.

Prose is character – some writing is “voicier” than other writing is, living closer in a character’s POV.  but in most cases, if you are in any way in a character’s head, your prose is part of their characterization. dick grayson will use different words and notice different details than damian will. being intentional about a character’s voice has the nice iterative effect of strengthening their characterization, which then makes your prose more confident as you understand their voice, and on and on it goes

Allow “workmanlike” phrases – sometimes cliché exists for a reason; you don’t actually need every sentence to be a poem. in fact, you NEED simple writing to string together your powerhouse lines without turning it all into purple prose/losing the reader/ruining the pacing.

Examine “workmanlike” phrases – that being said, another failure mode is RELYING on these phrases instead of digging for something more interesting now and then. i might write the phrase “a chill went down her spine” – ok this is fine, but I’ve read this sentence 15,000 times in my life and seeing it in my own document should be a trigger to slow down and decide if there’s a more specific or vivid description that conveys character or mood or theme better. or is just prettier lmao. i think to myself: how does it feel to be scared? what is a physical reaction that’s REAL that i have experienced, and am not just taking from a list in my head called “Descriptions Of Being Scared That Writers Use”?

The fucking thesaurus lmao – do not find/replace willy-nilly obviously BUT if the only word you can think of is Not Exactly The Right Word Dammit then the fucking thesaurus is a perfectly valid brainstorming tool to get closer to what you are trying to say. even if u don’t find the right word, it’s often a jumping-off point to a better way to approach the sentence

Note your “is”es – ok this is the annoying one. imo this really strengthened my writing but i hated it so so much. when revising, find any instance of “is/was/seems.” (ex: “He seems impatient, and there’s a pile of paperwork sitting in front of him.”) There’s nothing WRONG with that sentence, but it’s worth checking to see if it’s an opportunity for a more active one that gives more character detail (“He taps impatiently on a pile of paperwork.” there. done.)

Condense – ok look at that example again. i phrased things more actively but i ALSO condensed two concepts (He seems impatient + there is paperwork) into a sharper sentence that ALSO tells us a bit about how this character acts when stressed. imo you can accidentally find really interesting prose this way, in addition to improving pacing.

Vary sentence structure – that being said, sometimes the way to go is a beautiful run-on, so long as that sentence has intention packed into it! if you are writing long lovely flowing sentences, it’s going to hit hard if you drop the emotional reveal in a short, choppy, standalone one. or if your sentences shorten as the mood of the scene changes, or or or.

Use detail to let a scene breathe – personally, i never want to write the phrase “there was a pregnant pause” or “there was a brief silence” if i can help it. this is personal preference, but i think the principle stands: you can instead control your reader’s sense of timing, create an implied pause, by giving detail in the right place. the reverse is why it bothers me when a conversation is interspersed with paragraphs of introspection lmao: in my head i’m wondering why pov is taking so long to respond

Use repetition – oh my god this is my cheat code. if you are really proud of a beautiful, distinctive phrase you wrote? use it again!!! make it a callback at an important moment!!! make it thematic!! do it on purpose. trust me it’s cool

Get out of their head – ok here’s an experiment. take a concept (“Dick is scared”) and tell yourself that you have to express this, but you CAN’T describe anything about Dick himself in order to do it. you can use the way the crumbling buildings of gotham loom above him, or the weather, or the way people react to him—but you cannot say a word about his actions or thoughts or feelings. chances are, you’ve now created some interesting prose getting at the concept abstractly. cool! use that, and also go and add the direct feelings back in if it makes sense to do so

"Unconscious" writing - uhh ok this one is weird, but sometimes for a VERY early draft—like, when I am staring down the blank page—I will stop…trying to write a story? I will instead begin to write, uh…poetry about what is happening in the story? Just, impressions, details, stream-of-consciousness…this will all have to be cleaned up and made linear later. but for now, go nuts. and usually it gives me a) some workable, pretty prose and b) an entry point into what i am trying to say so i can go back and write the “real version”

Dissect!! Good!!! Writing!!! - i'm sorry, this one is so boring. but if there's a writer who really WORKS for you, read very slowly and break down what's so effective about it on a prose level. i do this with ursula le guin. also, do this with poetry!!! which poems slam you to the ground and take your lunch money? how?

i know you also asked abt plot and character but i've already written so much lmao plz forgive me. i am not a big craft book person but i did enjoy refuse to be done and a swim in a pond in the rain. i also try to collect tips i find in this tag!

[fir-fireweed]

If anyone was curious what a brainstorming session between my sister and I looks like, it usually goes something like this:

Me: writes: “The slinky cascaded elegantly down the stairs…”

Sis: destroying my prose with her damnable realistic and on the nose intuition: “If it’s been buried for 100 years the slinky would probably be bent and rusted, just saying…”

Me: throws my pen at her “It’s MAGIC!”

Me: an hour later after not only making the slinky broken but figuring out how to turn it into a metaphor: “Huh. You know that’s actually pretty goo-”

Sis: “What was that?”

Me: “NOTHING!”

Love you my dear @orangeflavoryawp ❤️

[ramlightly]

I thought I read somewhere (maybe hallucinated, idk) that you weren't very confident with prose; but Temptations reads extremely easy. Beautiful writing, wonderful characterization; great use of spot art. I obviously like your OCs quite a lot, since that's why I'm here, but I admit I wasn't THAT invested in the deeper lore; but now I'm very invested. One of my favorite things was how we circled a few times around Sage before it came out that he and Basil had quarreled, and we ended this part still not knowing what about; I like that both Dandelion and Basil remain mysterious to us--and Sage, most of all. Good week for email, between Temptations and What Manner of Man.

Please take your time, but I'm very excited for the next installment; thank you for sharing part 1 with us.

You aren't mistaken, I'm incredibly insecure about my prose! I just don't have a lot of experience with it compared to my art, I'm learning as I go. Confession Booth was my first real prose project since high school and Temptations is easily my biggest endeavor yet. So the nice comments I've been getting have been very nice lol, making me feel more confident!

And thank you so much! I'm so glad you enjoyed it. How much Sage there was actually fluctuated a lot during drafts. At one point it was way too much, so I chopped it back to way too little lol. I'm glad it seems I found the right balance in the end.

When it comes to the lore bit: that's the really nice thing about actually sitting down and writing this story. It feels like the past couple years I've been rambling and brainstorming, so I totally get not being very invested lol, but it feels good to actually have something concrete. Makes it all feel more real, I suppose.

[marlowethelibrarian]

Writerly Questionaire tag!

@saturnine-saturneight, @the-golden-comet and @fortunatetragedy all tagged me for this questionaire! Also thanks to @davycoquette for the original meme!

About You

When did you start writing?

I remember writing a story for a first grade assignment when I was 4-5 and really enjoying it. They gave us little booklets that were just like construction paper cut into shapes with lined paper inside to write on. I didn't really start writing as a hobby until I was about 10, writing naruto fanfic.

Are the genres/themes you enjoy reading different from the ones you write?

I tend to write what I like to read! I like nonfiction on occasion which I definitely can write, I just don't do it very often.

Is there an author (or just a fellow writer!) you want to emulate, or one to whom you’re often compared?

No one has ever compared me to an author ever, lmfao, but there are some writers here on writeblr that I've got an eye on, with prose that fucking slaps. I haven't actually sat down and read their stuff yet for the most part, because my life has been crazy but from the excerpts I see on tumblr I'm like. Yes. That. That's great. How do they do that. shout out to @cowboybrunch, @fortunatetragedy and @davycoquette!

Can you tell me a little about your writing space(s)?

90% of the time I write in my messy ass bed my fitted sheet refuses to stay on. The other 10% I'm wandering to other places in the house.

What’s your most effective way to muster up some muse?

Write or die sometimes brute forces it out of me. Otherwise, brainstorming with a sounding board, answering some asks or tag games, or rereading my old stuff can all help me out here.

Did the place(s) you grew up in influence the people and places you write about?

I mean. Probably! I definitely do that thing where I'll picture the layout of a building as a building I'm familiar with. I've written a lot of apartments that look suspiciously like my grandparent's old house.

Are there any recurring themes in your writing, and if so, do they surprise you at all?

Yeah almost definitely lmfao. I keep noticing patterns after the fact. I have been circling the idea of dead worlds for one, and what it takes to survive there a couple times now. It's less obvious in project Cannibalism, but it's honestly still there.

Your Characters

Would you please tell me about your current favorite character? (Current WIP, past WIP, never used, etc.)

My current obsession is definitely Ravi, who is a dnd character, a larp character, and the main character of my Summer League OCT rounds. They started off as a gnome alchemist who is like just a back alley drug dealer when they got stuck in Barovia in a Curse of Strahd campaign. (Currently the only member of the original party still alive and aiming to keep it that way) I changed them to be a halfling when writing them for the OCT on a whim because it feels like a more grounded fantasy race to draw from without having to explain too much thanks to Lord of the Rings and its enduring cultural legacy. I've been greatly enjoying the process of writing, essentially, an incredibly traumatized character embark on a life or death venture among people who have no idea what the stakes are for them, exploring how badly adapted some of those defense mechanisms are for a regular ass place and how other people would view them, and how they would get there in the first place. I'd put them in my mouth and chew on them

Which of your characters would you be friends with in real life?

I can be a pretty sensitive person who prefers straightforward communication and positivity, so every single one of my horrible little prickly assholes is out. And that's a category I really enjoy writing so that's almost all of them lmfaoooo. I'd probably be friends with Wakma though. Wakma's cool.

Which characters would you dislike the most if you met them?

I wouldn't be able to stand Mala. She's consistently unpleasant and horrible to the people around her and I would not be able to let it roll off or just hit back like Rakani does.

Tell me about the process of coming up with your characters?

I like to develop characters in response to aspects I find interesting about the worldbuilding, or around a concept I want to explore. Sometimes they come about because there's a role in a story I need to fill. Wakma, for example, mostly came about because I knew Rakani absolutely needed a friend who didn't come from the Suyan hierarchy, and I already had this really cool idea about nomadic airship traders so I made him a diplomat from that culture, and then developed more of his character as I wrote him and decided what was important to the story.

Do you notice any reoccurring themes/traits in your characters?

Traumatized little goblins, people who aren't acceptable victims, who lash out and behave in unacceptable ways.

How do you picture your characters?

I do draw, so I do have pictures of what characters look like sometimes, but sometimes they're just blobs and I decide along the way what they look like. I do try to be deliberate about it though, because diversity in race and body types rarely just happens to me. It's something I work towards and am purposefully deliberate about.

Your Writing

What’s your reason for writing?

I wanna and no one's stopped me yet.

Is there a specific comment or type of comment you find particularly motivating coming from your readers?

i love it when someone points at something I did specifically about what about it they vibed with or excited them.

How do you want to be thought of by those who read your work?

Just don't look at me and expect my characters please.

What do you feel is your greatest strength as a writer?

Clarity.

What have you been frequently told your greatest writing strength is by others?

Well I think people have cried about my writing a lot, so it's quite emotional. I'm always very pleased when someone says I've hit on a level of some emotional realism.

How do you feel about your own writing?

I have great, creative ideas, but the execution could use a little work. I think my writing is pretty plain and worksmanlike, and that's like fine.

If you were the last person on earth and knew your writing would never be read by another human, would you still write?

This does absolutely open up a whole ass can of worms. jamie's right, how am i surviving here, if im subsidence farming I don't think I'd have the time and energy for writing. But like, I don't think I would if I knew I'd never have an audience. Even a small audience of one would be reason enough to write but if it's just me I might not.

When you write, are you influenced by what others might enjoy reading, or do you write purely what you enjoy?

I don't care what other people want when I'm writing. I only care when I'm editing lmfao.

i have not kept track of who has answered this or not so I'm just going to leave this open to anyone who wants this!!

[the-elder-polls]

How do you get motivation to write? 😭😭😭😭 I am trying to juggle a couple fics and also trying to write backgrounds for my OCs and I'm so terrible. I keep trying to change my mind about things or just vague ideas. I am also not great at words.

i disassociate to music and let the ghosts of inspirations past possess ke.

my actual answer:

i listen to a ton of music. i have playlists for all of my characters, their relationships, and my fics/fic ideas. when i want inspiration, i listen to the music and brainstorm ideas based off the lyrics and vibes.

i read other people's fics. it usually gets me excited to read, and then subsequently to write.

while i write, i listen to videos related to the subject. for VODAHMIN, i listen to true crime, horror, and TES lore videos. for my dnd fic, i listen to the session recordings, mythology, dnd stories. i also recommend listening to ambiance similar to the vibe you're wanting to write. for VODAHMIN, it's skyrim ambiance, snowstorms, and old cathedrals. dnd fic is tavern, usually.

i plot all my main points out and wing it as i go. with VODAHMIN, i know hlirlef will become konahrik, and i have a vague idea of how i'll get there. i write for me before i write for anyone else. i don't need anyone else to like it, so long as i like it.

you're too harsh on yourself, i guarantee it. look at books like haunting adeline or acotar - if that can be a bestseller, your prose and story are fine. you're always your own worst critic.

[snugglesquiggle]

I have a question, how do you structure your stories? like Hostile Takeover for example. What is your technique on plotting?

there are two answers to this question. “do as i say”, and “do as i actually do”

here’s the most direct and unhelpful to this question: to plot stories i think really hard about what would be cool to happen in the next chapter. then i write five chapters and now journey and destination are both unrecognizable and my crops are dying

for all that it doesn’t much matter, Hostile Takeover actually has the unique distinction of being the first story i’ve both outlined and polished. while i have a lot of stories that are written like stories rather than summaries, and while i also have a lot of outlines, usually i end up with one or the other

on 2023-10-31, not long after reading Tessaract, i had a thought about how to structure a J/Uzi dynamic. (it was your classic ‘what if Uzi reminded J of Tessa?’ idea, but back in 2023, i didn’t see anyone else thinking of that yet)

i noodled on the thought some, ended up crossbreeding this idea with an old V/Uzi idea that didn’t pan out, and the pieces started clicking together

now, to be clear, at this point i still had no plans to write this. i wasn’t a fanfiction writer. instead, i pulled open up a brainstorming channel on discord and starting typing. i didn’t stop typing till long after it had grown far, far too long to post on discord

i wrote 10k words that day, in fact. if you’ve been following me for a while, you’ll know this is a pretty common pattern. i think of a story idea, lock into hyperfocus, and yap a whole novella trying to explain why the story idea is so cool

if you dig around on my site, you can find a few example of outlines written in this fashion. the fact that i went on to flesh out that outline with actual prose is what seems most miraculous about hostile takeover — without exception, this is the step that has killed every other outline

but i’m really getting off track here. you asked about how to structure stories, so circling back to talk about my outline process rather than my fleshing-out process seems prudent. (but put a pin here, we’ll come back to this later because there’s a big caveat to mention)

also i should probably put a read more thingy here for the people scrolling past this

there’s a difficulty in me talking honestly about outlining, because i barely structure my stories, at least consciously. i first notice an idea is really cool, and i think about who in my friends list i’m going to subject to my bullshit explain it to, and it naturally adopts an “okay, but before i can get to that, you first need to hear about this so that everything hits just right” and on and on until i’m starting off ten pages away from the actual point.

but i guess there is a structure even in that, because i’m not consciously thinking about these sentences i’m writing either, yet that’s not because i don’t know how to structure nouns and verbs, it’s that i’ve spent so long thinking about them that i don’t need to anymore.

there’s something deceptively, lede-buryingly coy about me acting like i have any difficulty talking about outlining. i think my tumblr audience largely doesn’t know, but i’ve been writing essays about how to write for years. outlining might be the thing i’ve written about the most!

the three most relevant are, “Ur-Development”, “Outlines as Temporarily Embarrassed Drafts”, and to a lesser extent, “Pacing is Madness”

Embarrassed Drafts is the one i’d suggest you read, if you’re going to read one, because it’s specifically my response to a friend asking me a very similar question (i.e. “how does one start plotting a story”)

Ur-Dev is an old essay, written two years ago a this point, and i’m not linking it because it’s a bad essay. mediocrely written, and i don’t fully agree with its prescriptions as much as i once did, but it was still a major turning point in how i thought about stories. it’s essentially my take on the hero’s journey (part of why i dislike it)

but the outlining essay was written before i wrote hostile takeover, so i have about a year’s more experience now. so here’s how i would boil it down in 2024

telling a story is just raising then answering a question using drama and detail. now, drama comes down to how you write characters, detail comes down to how you write prose (or render images) — but the questions themselves? that’s what plot is

vaguest of all, this is questions like “what happens next” or “how does it end?”

but these questions suck because they ask you to draw the rest of the owl. the really good questions are ones like “how does this happen” or “why is she like that” — they’re directly prompts for you to explain

now, i don’t think think in terms of questions. like i said, i think of cool stuff first

if you read or watch videos about how to write, you’ll quickly run into the idea of “plotters” and “pantsers”, and i think the essence of this distinction is whether the answers or the questions come first

and how best to answer this ask depends on which you are — do you have a premise that you want to explore and find a story in, or do you have a payoff that you want to lead the reader to appreciate?

i’m ambidextrous myself, i’ve gotten good results from either approach, but i identify as a planner just because i can never feel comfortable starting paragraph unless i already know what the last word is.

but both kinds of writers are producing the same thing in different orders. the structure that arises when you raise and answer questions has three steps: presentation, transition, and conclusion. (or if you prefer, beginning, middle and end)

to make this all less abstract, let’s sketch out an example. i have a whole vault of juzi fic ideas i dont have time to write but one of them is based on a simple idea: what if Uzi pointed her gun a little lower when she fires the first shot in the pilot, taking out N’s core?

and since i’m the one writing it, this will lead back to juzi somehow. that already gives us two tentpoles to structure a story around

my first piece of advice for the presentating the beginning is that stories should start in a state of ambiguity or falsehood. what every the story is about, whatever the big question might be, in the beginningwe must not know the final answer.

to see what it looks like if you don’t do this, imagine we wrote the fic like this. Uzi kills N. she goes “holy hell” and does a fistbump, and walks back to the outpost high on her accomplishment. she tells her dad and her classmates about how she killed a murder drone, and they’re all impressed. she goes to bed feeling super cool. the end.

now in fairness, it’s all about the execution. this could very well be a good fic! (i think there’s a nice oneshot to be written in the sheer novelty of uzi actually doing what she planned to in the pilot and winning her dad’s respect and stuff). but i think a good fic would only be good by virtue of adding stuff that’s not there in this short summary.

this summary isn’t a good story (arguably not a story at all), and there can exist one-paragraph ideas that are good and story-shaped

the problem is that all those scenes of uzi walking back and talking to other drones don’t add or explore anything that wasn’t presented at the start with her killing N. it doesn’t inform the audience of anything or transform the ideas, it’s just a repetition of the “Uzi killed N” core idea

here’s an improvement. it goes mostly the same — Uzi’s thrilled, the whole colony is proud of her, everything seems great, but then that night when she goes to sleep, there’s a tremor of unease. she’s remembering the battle without the thrill of digital adrenaline, and did she see that yellow cross flicker to fear a frame before the end? that night, she has nightmares, witnessing silver hair and yellow eyes torn apart as she watches.

this is would be a pretty cliche story, but i do think it’s a story, and it illustrates what i’m talking about. here, we’ve decided the core question is “how does Uzi feel about killing N?” and the this fic starts with a false answer to that question (“she’d think it’s awesome��), and builds to the real answer (“she’d actually feel a bit guilty about it”)

but here’s another angle. uzi killed N the same way she canonically killed J at the end of the pilot — this implies that after Uzi leaves, we’ll wind up with eldritch N worming it up. we know that material collection starts off pretty stealthy, so we might imagine that when J and V return, N’s corpse has already skittered off.

J could be thrilled to be rid of a synergistic liability (or maybe she knows he has backups), but V would be shattered. her whole reason for playing along with killing workers was to protect N. maybe she spends night after night searching for sign of him, or sinking into a depression, but either way J immediately grow frustrated with her tanking productivity.

meanwhile in the outpost, there’s celebrations at Uzi’s accomplishments — but one drone is giving her a very significant look. for once, Lizzy and Doll aren’t laughing at Uzi. Lizzy’s smiling with all the rest of them, of course, but Doll has a calculating stare. that night, when Uzi goes to her room, Doll’s waiting for her, red eyes shining the dark, a cheerleader jumpscare.

Doll has a question. she watched her parents be killed by murder drones. but her father managed to snap a picture of it. she shows that to Uzi, asking if the goth killed that drone. she hadn’t. Uzi expected disappointment, but Doll smiles. excellent, she says. i’m going to kill this one — you may assist me. Uzi’s indignant — assist her? excuse me? she’s the hero here! Doll doesn’t respond, simply stating to meet in the locker room after cheer practice if she’s interesting.

i’m getting carried away here, so let me stop before i outline a whole fic. the point here was to illustrate the other way to draw a proper story out of a premise.

more complex than correcting a false answer to the question, you can extrapolate a chain of answers. characters react and make plans and new scenarios arise as a consequence of what happened before.

what happens when j & v arrive to an empty nest? what happens when Doll and Uzi work together to take down V? in order to answer these questions, you have to go step by step

now, there’s hidden magic even in this tutorial. i could have written this scenario any number of ways — i chose to have Uzi make it home, instead of encountering V and J in the spire, or along the way back. i chose to have J and V react in a way that pit them against each other. i chose to have Doll want to recruit Uzi rather than be jealous, and i specifically chose to have her appear all creepy-like in Uzi’s room.

part of plotting stories is coming up with these ideas and making these choices as to how events progress. some of these choices make for better stories, but it’s hard to give much specific advice for learning how to generate and evaluate these idea-seeds — “keep reading and writing stories” will get you there, though

i do want to highlight how i already i can see neat beats to steer this nascent story towards. for instance, what does Doll and Uzi’s partnership look like on the every day level? wouldn’t it be interesting if, riding on the wave of fame and appreciate Uzi gains from her heroics, Lizzy and Doll tried to integrate the goth into their clique — genuinely preparing her to be popular?

but ideas are honestly cheap. the beginning of the story is all about presenting interesting questions to the reader. the middle of the story is all about exploring, developing, and working out the answers to that question.

the word i used earlier is transition, but transition to what? you can’t really understand middles or what their purpose is until you understand endings.

many centuries ago, the greek philosopher aristotle said something i love to repeat. the conclusion to a story should be surprising, yet inevitable. (i think there’s a single word that captures this spirit: ingenious. or perhaps even just creative)

this is why i insisted that a story should start in a state of ambiguity or outright falsehood regarding its core question. the final answer can’t be any surprise if it’s something we already knew, so we should be uncertain or falsely sure until the very end.

that can’t be all of it. after all, “Uzi kills N. will she go home or stay in the spire?” is a question we start off unsure about. but this can’t be a core question, because there’s nothing surprising nor inevitable her choice either way. it’s filler worth eliding over, as i did in my summaries above.

except we can make it a more interesting question. what if Uzi wanted to scavenge more than the railgun macguffin from the murder drones lair — what if the murder drones had tons of useful supplies that she could bring back to the outpost. …but her railgun is in cooldown and as she looks around the base, she sees clear signs there are other murder drones.

so, is Uzi the type to risk it, or play it safe? posed that way, suddenly it not only seems like she would stick around in the spire, but it also feels like it’s satisfying writing to resolve the dilemma this way.

…except, remember that she nearly died in her fight with N. remember that he stuck her hand with his nanite acid, and this time he’s not around to kiss it better. uzi can barely hold her railgun, let alone scavenge for supplies.

(her return to the outpost will play out differently, won’t it? instead of celebrations the next morning, she’d probably stagger in, exhausted from pain and oil loss, wake up in the repair bay with her concerned father giving her a stern talking to.)

but i digress again. you might notice that i’ve incidentally been demonstrating what it takes to craft a middle here. story transitions are all about drawing out the reasons why a plot point ought to go one way or the other, pitting them against each other and crowning the victor.

payoff needs to be earned; transitions are about building toward the conclusion. if stories about about answering a core question, why not just write out the question and the answer? “what happens if Uzi kills N? she’d feel guilty about it. the end.” that’s lame as fuck. you need the triumph and celebration, to see Uzi getting the recognition she always craved, so that when she lays down and feels that one atom of guilted unease tug at her, it lands like a poignant gutpunch in miniture.

middles are so hard because they serve two contradictory purposes. you have to convince the audience that this is all building toward the final conclusion, and you have the convince the audience that it’s not gonna turn out that way at all ;]

surprising, yet inevitable. too inevitable, and the audience loses interest in the predictable slog. too suprising, and the audience starts to think you’ve lost the plot and forgotten what the story is supposed to be about.

there’s another stumbling block for endings. remember worm N? what was i cooking with that? there’s a very similar version of this post where i never mentioned or thought of material collection at all, and just said Uzi kills N like she killed J in the pilot and continued plotting out the rest.

i can already tell you, i have ideas for where that story goes from there, and right now worm N doesn’t factor into any of them.

it’s a loose plot thread. sometimes, in the process of trying to answer one question, you raise another that you have no interest in answering. but the audience has no way of reading your intent, so they could be following along expecting a synthesized "Giggle." and never getting it.

really, there’s a whole host of missteps i probably should have brought up before now. sometimes, you try to raise a question and the readers dont catch it, or they don’t care for it. it’s not enough to ask “what if Uzi kills N?” (though fanfiction has the definite advantage that, because we’re murder drones superfans, we already care enough about these characters to be piqued by that alone). you have to convince the audience that this is a really interesting question, and they need to see where you’re going with this.

but i dont know how much of that is a question of plot stucture vs writing well generally.

so let’s start wrapping up this essay

you can explain a lot of otherwise finnicky writer-speak through this lens.

what is a hook? it’s the core question the story aims to resolve. it’s the protagonist’s goal, it’s the mystery, it’s the crazy what if scenario.

what are stakes? it’s the possible answers to the question presented early on, especially ones that that would be bad for the characters we’re invested in.

what is setup? it’s plot points and exposition that give the reader the pieces that’ll eventually click together into the final answer.

what is tension? it’s pieces that don’t fit; it’s setup for one of the bad ends specified by the stakes.

what is payoff? it’s when all the build up finally arrives, in spite of all the tension, at the answer promised by the hook.

so, what is my technique for plotting a story? start with the hook or the payoff. whichever one comes first, i know that the other has to be different, inverted via a surprising twist. then figure out what faultline of conflict runs between those two points. what interacting plotlines must collide to transform one to the other?

after that comes the detailed work of crafting lines of logic that follows that flow.

and this, finally is where i pull out the pin in that big caveat i mentioned thousands of words ago — this is where i finally start talking about Hostile Takeover.

i mentioned that i outlined Hostile Takeover from start to finish in one day, producing a 10k word first draft. but in a meaningful sense, that outline was not hostile takeover (on my computer, i now have it saved as “Lethal Acquisition”)

Hostile Takeover is 186k words, and barely covers the first thousand words of the outline. here’s what that looks like

Chapter 1

j&v are out hunting drones. v’s making a mess as usual, and j’s a bit annoyed at her splashing oil all over her. then, on the visor of one dead drone, the absolv glyph flashes. v gets super spooked and it leaves her off balance for the rest of the hunt and j ends up calling it early

back at the spire, j’s trying to do a debrief or postmortem of their last hunt but v is all of out of sorts, unresponsive. (she’s having flashbacks to cyn). this keeps going until j’s about to do something invasive — reboot her? mess with her configuration? — but n steps in to protect her, saying he’ll talk to her and get her back to normal without hacking her. j rolls her eyes, but leaves them to it.

j’s mad, and copes in a private room while straightening her hair. she rants to herself about their quota and how at this rate they’ll never make best team. n’ll fail, he usually does, and when he does then j can reformat v, but till then she’s stuck with two synergistic liabilities. fuck it, j will just go on a hunt on her own. she’s better than them anyway. she’ll fill their quota singlehandedly if she has to.

Chapter 2

j is interviewing the new disassembly drone. at first, she’s relieved at her team getting an extra hand, but it quickly becomes clear this drone is even more defective than v or n. in fact… a lot of this isn’t adding up. she’s missing the last few hours of her memory, one of her sensors is offline — this isn’t a disassembly drone, is it? j requests some data transfer so she can confirm the drone’s identity. uzi of course refuses, starts to run — but j easily overpowers her. with her sensors offline she cant be sure she didn’t just attack one of the company’s drones for no reason, so she checks uzi’s memory.

it’s becomes obvious this isn’t a murder drone, but she plays back her fight with the drone from another pov. she sees uzi’s shock at seeeing a murder drone. but her first thought was: pigtails? why does it have hair? why does it look so… immaculate? j’s laughs. because she’s just that great. but then her eye is caught by something else: the sick as hell—, excuse me, highly effective magnetically amplified blah blah

j steps out of uzi’s memories and sighs. with uzi pinned, she sighs and starts monologuing. uzi struggles to get up, but it’s ultimately in vain, so she has to suffer through it. uzi says, “i can’t believe i lost to the one murder drone on copper-9 who monologues. j’s like, you should feel honored, toaster. do you think i monologue for anyone? i’ve killed thirteen drones today. do you know how they died? she presses a claw to uzi’s throat.”snip, sip. i’m not v. i don’t make messes." “so why?” she holds up the railgun. “this. it’s a remarkably effective weapon. shoddy, unreliable, but the concept? if it were manufactured to jcjenson’s standard of quality… well. do you think your colony’s walls could withstand this?” uzi’s eyes hollow, then she’s like, “ha, outpost three has the finest doors in all of copper-9. my dad made them. do you think i’d create something that could destroy them?” “oh well, it doesn’t matter anyway. all of this is tragic preamble. it never mattered. because you’re a worker drone, and my orders are clear. you would have made a good disassembler.” “is that a compliment? just fucking bite me. i’m nothing like you.” “are we really so different? ha, what am i saying, of course we are.” j stabs uzi and it’s over.

Chapter 3

j’s dragging uzi’s body back to the corpse spire, so she notices when the absolv glyph flashes on her screen. “oh uzi, even in death you’re interesting.” instead of placing uzi with the other corpses, she stows her away in her room.

the next day, j’s flipping through the schematics she stole from uzi’s memories, trying to reproduce them and failing, growing increasingly frustrated. that worker drone wasn’t better than me. n stumbles across her like this, and he smiles. oh j, have you taken in interest in human technology? she snaps at him, then regrets it a moment later. say n… she contemplates giving him to specs to puzzle it out, then stops. nevermind. she doesn’t want to share uzi’s schematics. why?

v hasn’t had her fill of oil in a while now, and is getting hungry. she checks the spire’s corpses for dregs, most of them cold and congealed, or empty, but there’s one fresh, warm one, brimming with oil. did someone forget to drain this one? v doesn’t question her luck, tears off a limp and eagerly feed.

j walks in on this.

Chapter 4

seeing v feed on uzi, j attacks v. (in the course of the battle, she bites v and feels that familiar sour taste of another disassembler) j says “that was mine.” “ugh, someone’s stingy. aren’t we teammates?” “aren’t we disassembly drones? you wouldn’t be so hungry if you were doing your job. did n talk sense into you yet?” “you have no idea what you’re talking about. you think you’re in charge, but you don’t understand anything.” “i understand that i’ve given you an order. this drone is mine, and you are not to feed on it. am I clear? by disciplinary code 31c, insubordination will result in—” “i get it. i’m sure overheating is just what i need to get back to hunting. your drone tastes like shit anyway.” j glares at her, and v glares back. then she leaves.

j watches uzi’s corpse. the absolv symbol is faint, flickering. despite being dead, claw right through the motherboard, there’s still electricity humming through her. her oil is still warm. even in death. “oh uzi, uzi, uzi.”

n is bouncing a ball towards v while v occasionally, carelessly, knocks it back. despite her apparent disinterest, n is consistently able to catch it, and he whoops in joy. v sticks a knife through the ball when j shows up. “j”. “that’s captain j to you, serial designation v.” she rolls her eyes. “am i going to get flagged insubordinate for reminding you of something?” “why, it is foundational to jcjenson’s philosophy to maintain and open and receptive relationship between employ—” “that’s corporatespeak for no, right? i was thinking about what you said, j. we’re disassembly drones. so it seems odd to me that you haven’t disassembled that drone you keep in your room. you know that’s the whole point, right?” j lunges at v. (n watches on with concern.) “while we strive to remain open and receptive, I can’t but feel your reminder isn’t more than a dressed up personal attack on my intelligence and capability. and that—” “—is insubordination, yeah yeah. whatever j, that’s not the point and you know it. disassemble it. you know what happens if we don’t.” “what happens, v?” she asks sweetly. “you don’t know. neither of you know. neither of you remember. ugh. can you trust me, j?” “i trust results, v. there was a time, not too long ago, when i thought i could trust you. maybe we’ll go back to that.” “i’m not playing games, j. if you take too long it might be too late.” j grins. “that sounds like a lot of employee incentive, doesn’t it? get back to work, v.”

back in her room, j is calming her nerves by fixing her hair. she glances at uzi. she fixes uzi’s hair too. then, she connects to her system, and checks to see how her abberent processes are handling the lack of motherboard. she pings and gets a response. she’s excited (why? shouldn’t she disassemble uzi?), and queries the system for a log of activity and errors. and that’s when she finds op codes that are very familiar from diagnosing herself and her teammates, and never any worker drones. it’s repairing itself. it’s draining its oil reserves. just like us. “we really aren’t so different, are we? maybe jcjenson did send me a new teammate”. J feeds uzi some of her spare oil, piles on the parts of discarded drones hope it’s enough mass for repairs to commence.

what you’ll notice about this outline is that it’s mid as hell. all of the most interesting parts of HT aren’t here. now, some of the drafting process involved repurposing later beats earlier than expected (the first tessa flashback was at the start of chapter 6, acting as a sort of bridge between “act one” and “act two”; and N and V’s hunt together repurposes some ideas i planned to introduce in battle among a field of windmills) but that can’t explain all that bloat and sprawl.

it would be a understatement to say HT grew in the telling. it’s not so much outlined as loosely inspired by the outline.

i say that in the tone of a joke, but this represents my new outlook on what outlines are for. it’s not like guidelines in a sketch layer, where subsequent inking and rendering might refine bits of anatomy and tweak the pose while being defined traced over what came before. it’s a musician improvising new melodies and chords while playing an old standard.

the outline is the prototype, the test run. it’s a route from A (the hook) to B (the payoff), but it’s just one route through the landscape. it lets you get familiar with the terrain, spot some of the landmarks and hazards, but it’s a birds eye view; when you’re traveling on foot, you’re going to have to diverge, and you’re going to stop and smell the flowers.

the embellishments that define what HT really is are nonetheless the result of applying these principles at the lower level, though.

the outline called for an AS glyph to flash on a random drone’s screen just because. wouldn’t it be more of a payoff if it’s hidden in the catacombs beneath a church the squad has to battle to penetrate? and if there’s a whole spooky solver cult, that definitely suggests other plot developments, and this is how things compound and snarl

this post has gotten long. maybe, just maybe, i managed to convey a thing or two about how i plot stories.

thank you for the ask and for sitting through all that; i hope it wasn’t too long and rambling.

[eldritchmochi]

writer's ask: Favorite 3 prime numbers!

uuuuh okay, well thankfully theres not a ton of prime numbers to choose from lmao SO

3: What’s your favorite fic that you’ve written?

depends on how you're quantifying "favorite". the one i still point out as a good entry point to my writing is HORNY FOR CHRISTMAS, my modern au christmas kylo fic. i point to this one because its a good novella length, so you can read it in an afternoon or two, and for being very slice of life it has distinct character arcs and a solid b plot, plus i really enjoy the worldbuilding i did and the character dynamics between everyone involved AND the smut is filthy. theres definitely something on a technical level that i could nitpick (like sentence structure and word choice, more than actual plot etc) but overall its very good

broadly, one of the things im most proud of in my writing is the section of ch 31 of COPING SKILLS where essek retells a xhorassian fairy tale. it's heavily based off one of my favourite fairy tales as a kid (which i have not reread since i was like, 12? tho i think i still have the book) with an exandrian flair, but i really enjoy the way it FEELS like someone retelling a story from memory, a little rambly with some missing details and some back tracking and some conflicting details, and i also really like how it feels like a fairy tale as a whole, which is a type of writing im not all that experienced in (but cherry is!) so it was a fun challenge that i feel i knocked out of the park

13. How much planning do you do before writing?

depends on the fic!! the longer it is, obvs the more i plan, but i tend to really loosely sketch out my ideas and then fill in the blanks, both in prose and in my outline, as i go forward. cs has the most planning ive ever done for a fic, with several documents for the outline and the timeline and the bg notes of the worldbuilding and various characters and their relationships/jobs/whathaveyou, but the outline for the latter chapters of the first section are very bare bones The Main Plot Beat, though the next couple of chapters i have to work on have like, a page of notes each since ive brainstormed some distinct ideas including dialogue i love and wanted to keep track of it

the chapter i'm actively on tho? 0 notes lmao it was literally just "more porn here???"

with shorter things, especially smutty one shots, i tend to break it down into: The Vibe + 1-3 kinks to explore + 2-4 sex acts + associated positioning, and then otherwise just roll with what wants to happen

so: plantser

21. Have you ever deleted an entire scene after spending hours laboring over it? If so, why?

yep! the first actual sex scene of cs was completely rewritten. i originally skipped ahead to write it fairly early on (i think i was chronologically around ch8 and the sex happens in 22?). i knew when it was going to happen, approximately what lead up to it, and roughly the vibes, and it was a GREAT exercise because it allowed me to feel out the wizards starting sexual dynamic in this universe so i could go back and fill in the tension appropriately. however, i am really not the sort who can write scenes out of order, so by the time i got to what i had written, it didn't fit the trajectory anymore, largely because my skills had improved hand over fist lmao. so i scrapped it, but i did reuse a lot of individual lines and the new scene fairly closely follows the original, just with the correct amount of emotional oomph and better technique

there are plenty more questions on the ask meme, located thusly

[stellarspecter]

20 questions for writers

i was tagged by @devondespresso and @spicysix! thanks guys!!

1. How many works do you have on AO3?

68! oh shit my next fic is my 69th i gotta finish that smut fic STAT

2. What's your total AO3 word count?

191,966. crazy

3. What fandoms do you write for?

most recently, stranger things, but i've also written a lot for julie and the phantoms and be more chill. and then various other oneshots for random stuff

4. What are your top 5 fics by kudos?

Befriend the Bully - Nerdy Prudes Must Die, 868 kudos (and 3rd most kudos'ed fic in the hatchetfield fandom???)

Saint Frost - Rise of the Guardians, 593 kudos

Me Too - Percy Jackson & the Olympians, 392 kudos

Hopefully - Be More Chill, 286 kudos

All This Feeling Second Best, It's Got Me by the Throat - Julie and the Phantoms, 249 kudos

most of those are pretty old so it makes sense that they've had the time to accumulate kudos, but that means they were also written when i was in high school so it's kind of like 😬

5. Do you respond to comments?

i used to more, now i don't really unless they said something that i specifically want to comment on. i just kind of forget or don't have anything to say lmao

6. What is the fic you wrote with the angstiest ending?

probably my troped round 1 fic, you look like you've just seen a monster (is that what i look like to you?). usually i like to have a happy ending but i wrote this in like two days the week of my first breakup. so uh yeah couldn't really think of happy ending for that one.

7. What's the fic you wrote with the happiest ending?

pretty much anything else lmao. i love to write fluff and cuddles and shit like that so just go read any other of my fics

8. Do you get hate on fics?

the only hate on fics i can remember ever getting was back in my bmc days when i wrote meremine and someone was mad bc michael is gay and didn't like that i put him in a throuple with a woman. but like other than that clown behavior no not really lmao

9. Do you write smut? If so, what kind?

i have one (1) smut fic published and it is on a different account because i was so scared of jatp fandom being mean lmao. luckily i only got nice comments on it so i will share that you can go read it here. i mean it was probably kind of obvious that it was me because there are only so many ppl into that rarepair? but idk jatp mutuals lmk who you thought it was lsdfksjf

i have been trying to write steddie smut recently, i have a wip that i'm working on that i will hopefully finish soon. if anyone would like to beta that lmk lol 👀 it is pretty kinky i will say lol but like. that's steddie for ya

10. Do you write crossovers?

not really. i'm more likely to just make an au of something for whichever fandom i'm currently obsessed with

11. Have you ever had a fic stolen?

not to my knowledge

12. Have you ever had a fic translated?

i don't think so? ppl would be welcome to do so tho

13. Have you ever co-written a fic before?

no. co-brainstormed and went crazy in the dms about it tho? oh yeah

14. What's your all-time favorite ship?

evidence shows it to be steddie, at least for now. i'm a big multishipper so a better question would more be "what do i find myself most often in the mood for?" and the answer would still be steddie sldkfjs

15. What's a WIP you want to finish but doubt you will?

vampire chrissy fic i want to do right by you i fear i may not.... i signed it up for the wip big bang tho so hopefully i do actually get it done

16. What are your writing strengths?

dialogue! i love writing dialogue. screenwriting is awesome because it's just dialogue.

17. What are your writing weaknesses?

hrmm action scenes. repetitive prose. actually sitting down and plotting something cohesively

18. Thoughts on writing dialogue in another language in fic?

nothing against it but i'm only fluent in english so i'd consult someone else who actually speaks that language

19. First fandom you wrote for?

doctor who in middle school :) i wrote my fics in my little writing notebook and some of them are even on ao3 lol

20. Favorite fic you've written?

like i said earlier with the favorite ship question, this is tough to answer because i feel like it comes down to more what am i in the mood for most often. i'm pretty proud of my trans steve fic as well as aro bi reggie, both of them because i spent a long time trying to make sure i doing the representation right and i think i did a good job. also that sad bobby polycurve fic from the kudos question, i put a lot of myself in it and i feel very proud of how it came out.

no-pressure tagging: @wr0temyway0ut @zazujoy @sunsetcurvecuddles @chickwiththepurpleguitar @weneedglitter

@queenofthequillandink @jughead-is-canonically-aroace @innytoes @floating-in-the-blue @invisibleraven

and anyone else who wants to do it!

[tathrin]

Been doing some world-building for the Gimli Dark Lord of Erebor AU, and I think I have the general background events figured out at last. Anyone want to read way too many sloppily-written words of backstory for this unhinged canon-divergence nightmare fic? Boy are you in luck if so!

Note that any of this is subject to change until and unless actually directly referenced in the fic itself. This is very much proto-rough-draft stuff right now, just sort of brainstorming-via-prose. (Also obviously potential spoilers abound, in the sense of “things that have already happened but haven’t been revealed or discussed by the characters,” although it does stop some considerable amount of time before the day the story actually opens.) But I know there are a few folks who’ve expressed interest in knowing more about this AU, and I would love to know people’s thoughts on what I’ve come up with so far. Especially if you see a logistical issue or plot-hole that needs to be paved!

Also it’s probably less than wholly coherent (this was largely typed on my phone at work, shhh), but do let me know if you hit any part that’s just completely unfathomable and I’ll try to clarify it.

Anyway...

We start with Boromir taking the One Ring from Frodo on Amon Hen. He runs off in something of a panic (at this point in his own mind he sees himself as too far gone to do anything else, and the Ring runs with that—they'd never forgive you now!—and he goes racing off pell-mell), unaware that the others are about twenty minutes away from being ambushed by uruk-hai—although it is that fight which will give him the necessary lead-time to escape.

Frodo was injured (hand broken, knocked out) in the struggle over the Ring. The others find him after the orc fight just waking up, having been hidden by his cloak from the battle. Aragorn tends his wounds while Legolas and Gimli search for Merry and Pippin; can't find them. The others join the search: nothing. Too much ground, too many footprints, too few clues. They search for hours, but—but the Ring gets farther away with every minute. They must pursue it, must pursue Boromir. But to do so means abandoning Merry and Pippin who may or may not even be alive. What do they do?

Sam of course wants to keep looking, but will defer to Frodo. Frodo would like to search more, but his duty (and the Ring) tug at him to chase Boromir, even though all he wants to do is find his friends and make sure they're all right. Loyal Gimli of course is aghast at the idea of abandoning his friends until he knows for sure that they are dead; Legolas, warrior of Mirkwood, understands both the stakes and the bitterness of such sacrifice all too well, and votes to do what they must and chase the Ring. Aragorn is torn…but duty to the Quest wins in the end, at least in part because he is sure that they must be dead already and their hacked bodies lying somewhere in the brush of Amon Hen. (They are not: they are being carried into Rohan on the backs of uruk-hai. They will escape to Fangorn, and the Ents, and join the march to Isengard. But their friends will not come there to find them. They will not see the Fellowship again.) 

The rest chase Boromir, but they are too far behind. They will not catch him. The Ring will go to Gondor, and to Denethor, and hope will not come again to the White City.

Gandalf will go to Edoras alone. He will meet Merry and Pippin in Fangorn, but the rest of the Fellowship will not know that he returned until the moment when he leaves again. In Meduseld, he will pull Théoden out from Saruman's spell, and at the Hornberg he will bring Erkenbrand to save the survivors of Helm's Deep as they huddle in the keep beneath the unflinching assault of the White Hand. Éomer is dead, with no dwarf there to save him. Théoden lives, but as a broken man: he lost his son and he lost his nephew, and he could not save his people, but rather had to be pulled from the trap of his walls by saviors led by the White Wizard. It does not matter: his death will find him on the plains outside the White City regardless.

But before that: Boromir arrives in Minas Tirith on March 2nd. Théoden has just been healed; the Entmoot has not yet concluded. The rest of the Fellowship are at most two days behind Boromir. Aragorn, Gimli, and Legolas could ostensibly travel faster than him, but they have two Hobbits to bring with them, one of whom was injured, and they lingered long in search of Merry and Pippin; also the Ring, far from being a burden that drags at his feet as it does with Frodo, speeds his steps and strengthens him when he might otherwise seek rest, because he is doing what it wants. They have made good time, but not good enough to overtake him; not good enough to stop him.

Gandalf, as a Ringbearer, senses the moment that Denethor claims the One Ring…and so does Frodo.

"Wait," he cries, staggering to a halt. He drops to his knees clutching his head, his heart; trying to clutch his very soul. His shoulder burns like ice. "Wait," he says, "it's too late."

Aragorn stares at him in horror. "Sauron has the Ring?"

"No," Frodo says. "Someone else…a Man, I think. A tall Man, he looks old. He feels very old. I don't think he is, though. I think he…I think he is someone very important. Not a king, but something like a king, I think," he says, and Aragorn sinks to the ground beside the Hobbit. His face is gray and grim. Frodo tries to offer him a reassuring smile out of instinct, but he cannot quite manage it; instead his face curls in a thoughtful frown. "He reminds me of you, a little, Strider," Frodo continues, "but…but not, also. Very much not like you, in some ways, I think. But I saw a White City, and a dead tree, and the Ring was on his hand, and…and it is his. Aragorn, the Ring is his."

"Denethor, " Aragorn says, and his voice is a lament. He bows his head. "Alas for Gondor, then, for Denethor has claimed the One Ring."

"What does that mean?" Legolas asks. "What do we do next?"

"What can we do?" Aragorn shrugs, and stands, and he looks older than he ever has as he turns his face south towards Minas Tirith. "The choice has been taken from us. Now all that is left is to stand with Gondor in the war that will come, or flee before Sauron's victory."

"But Gondor cannot defeat him," Gimli says.

"No," says Aragorn. "They cannot. But I will pledge them my sword nonetheless."

In the end, they all decide to go on with heavy hearts to Minas Tirith. Denethor welcomes them with smiles and poorly-concealed suspicion. (He does not want them here, but it is better to have them under his eye, where he is the one in control.) Boromir swaggers to cover his feelings of shame. (He does not want them here; he does not manage quite to meet their eyes.) Faramir is fascinated by the Halflings especially, and it is he who manages to coax the truth out of Frodo and Sam about exactly how Boromir really got his hands on the One Ring. (He is grieved, but less surprised than he wishes he was; Faramir knows his brother, and he knows furthermore that he has been acting strangely since he returned from Rivendell. This truth explains much.) 

The Beacons have now been lit, although it will be some days before Rohan arrives, if they can come at all; if they had come sooner, perhaps Gandalf would have stopped Aragorn and Frodo from passing the gates of the White City and placing themselves in Denethor's power. But Gandalf was not there, and his friends still think him dead. So Aragorn and Frodo enter Minas Tirith, but they do not bring hope with them when they do. Denethor is already lost to the Ring, and to the visions of glory and dominion that it feeds him.

Sauron, of course, also knew the moment someone claimed his Ring. So Mordor marches to war against Minas Tirith…but Sauron is not committed to this war. He knows where the real battle is being fought, and he has already decided that he will win it by agreeing to lose. This is merely the necessary process to make his surrender convincing. So he sends an army, and Minas Tirith fights, and the Maker of the One Ring strives in his mind against the Master of the One Ring, and Aragorn can do nothing to stop Denethor from dooming them all.

Boromir rides at the head of Gondor's army, and Aragorn rides beside him with Andúril in hand, and the people whisper; but Aragorn makes no move to claim the kingship. Gondor's army stands against Mordor, but slowly they are pushed back to the gates of the White City. Their lines are beginning to falter on the third day of battle when dawn finally breaks to show the Riders of Rohan coming up over the grass, the Grey Company (who came to Rohan seeking Aragorn, and found Théoden instead, and were persuaded by Gandalf that the most likely place to find Aragorn will be Gondor) with them—but there are many orcs yet, and the Corsairs of Umbar are coming up the river, too, and there are Nazgûl flying out of the east towards the battlefield. Three of them converge on Théoden—but it is not the king they seek, but rather the counselor riding beside him: Gandalf Greyhame, wielder of the Ring of Fire.

Gandalf yells for Rohan's forces to flee from these foes which are beyond their strength. Many do; Théoden stays. He masters the bitter fear the Nazgûl bring and defends Gandalf from their blades, until one pierces his shoulder. He goes down to his knees with a cry, and still he raises his blade one last time…and so he dies beside the wizard when Gandalf uses all the power within him to destroy the three Nazgûl Lords and a goodly portion of the armies around him, too.

The surviving Rohirrim are rallied by a young soldier they knew as Dernhelm, who throws off her helmet and reveals herself to be Éowyn of the House of Eorl. With tears streaming down her cheeks, she leads her people back into battle. They follow her with a roar and the strength of their spears and shields sends many orcs of Mordor running.

Then Denethor stands on the battlements and holds his hand aloft in a blaze of fiery light, and he commands the forces of Mordor to cower before him. And they do.

It is in that moment that Aragorn knows hope is lost. 

The battle ends with most of the orcs slain, the rest fleeing either back to Mordor or into the wild. The Easterlings and Corsairs are taken prisoner, or strike out on a desperate flight for their distant homes. (Denethor will deal with them, he decides, once his business with Sauron is finished; for now, let them flee.) Aragorn walks alone through the ashes of the Wizard's fall, which none other will dare brave. He retrieves the Rings left behind by Gandalf's inferno and takes Narya for his own: not because he wants to, but because he trusts no other there to wield it, and he does not believe that it will be left unclaimed if he does not. He means to bring it to Rivendell, and to give it to Elrond to bestow upon one of his advisors (most likely Glorfindel, he thinks; Glorfindel would be a good choice for that Ring, if he can brace himself to face fire on such close terms once again)…

But Denethor does not approve. He demands all the Rings; Aragorn refuses to give him any. He says that those of the Ringwraiths were born by Kings of Men once, and while they do not know which kings Gandalf burned, still Aragorn has thus the closest claim to those Rings than anyone there, for he is descended from Kings of Men, including some who once ruled Númenor and were lured into becoming Ringwraiths by Sauron's words. He will not give up those Rings; and as for Narya, he will return it to the elves, for it was an elvish ring before it was gifted to the Wizard.

Denethor declares that he is the Master of all the Rings now, and Aragorn will hand them over; Aragorn refuses. They match wills, and for a moment seem almost evenly matched: Denethor has the One Ring, which was built to command all the others, but Aragorn is mightier than Denethor, and he has not worn his spirit low contending with Sauron, and the Three were never fully dominated by the Dark Lord. They are evenly matched, for a moment… Then while they strive, on Denethor's quiet command, Boromir murders Aragorn. (He is horrified, later, to realize that he struck from behind; horrified to realize that he slew a friend. But in the moment, all he could feel was the compulsion of the Ring and the bloodlust of his own fury that Aragorn would dare defy his father, the Steward who ruled the land which the descendants of the kings abandoned.) Denethor takes the four Rings in triumph, and he gives to Boromir the Ring of Fire still wet with Aragorn's blood.

The secret of Aragorn's death is one they will not keep for long, but for now, none know what happened in the great hall between the Steward and the man who might have been his king.

Meanwhile, Merry and Pippin are back at Edoras; they left Isengard with Gandalf and the Rohirrim, but were not carried to battle with the rest of their forces. Frodo and Sam have decided to go there to seek their friends, since they will be of little use in the battle at the Black Gates, they figure—but Denethor has something else in mind for the Hobbit who once carried the Ring. He asks Frodo to stay at his side while the end of the war is fought, and Frodo cannot find a polite way to decline and Sam will not leave Frodo's side. So they stay in Gondor, while the survivors of the army ride out to break the Black Gate and throw Sauron down from his Dark Tower.

Boromir, with Narya on his hand, leads their forces; Faramir, now wearing one of the Nine, rides with him. Legolas and Gimli notice that Aragorn is not with the army, and the Ring he briefly claimed is now worn by Boromir, and they are distressed—but what can they do? The war is here at hand, and there is no time for questions now (just as Denethor arranged, of course). The army rides to the Black Gates, and Sauron's forces pour forth to battle…

And then Sauron himself strides onto the field. Terror grips the forces of Gondor and Rohan…and then Sauron kneels. His Nazgûl kneel beside him. He surrenders his forces and offers himself a prisoner to Gondor; a prisoner to the Lord of the Rings.

No one wants to go near him, to touch him. Even bold Boromir quails, the Ring in his mind shrieking in terror of the maia who would have mastered it. Eventually it is Faramir who walks forward, and the sight of his little brother showing such bravery stirs Boromir's courage and he follows, and together the two Captains of Gondor take Sauron prisoner.

The army rides back to Minas Tirith in escort, while Faramir and a smaller force stay to claim and investigate Barad-dûr. One of the Nazgûl stays with them to play (terrifying) guide; the other three go back with Sauron as prisoners, although no one wants to bind them or go near them, and in the end they march back under their own power and by their own will, or at least that of their master, rather than under guard or bindings (three Nazgûl died to Gandalf and there are two currently stationed in Dol Guldur leading the war against Mirkwood, Dale, Erebor, and Lórien, so there were only four left in Mordor). Sauron is brought to Minas Tirith as a prisoner, but he walks in with a faint smirk on his face and his head unbowed, with three Nazgûl framing him in escort, and there are some who cannot help but think he looks more like a conqueror than a captive when he crosses through the white stone gates that once held back his Shadow and kneels politely before the Steward.

Sauron is no longer fair to look at, no; he lost that seeming in the wreckage of Númenor. But there is a grim beauty to his fell features nonetheless, the sort of cruel and regal beauty of hatred and power. He does not look fair, he does not look good—but he looks strong, to be sure. In a way, he even looks faintly kingly standing there before the unclaimed throne of the king. A tyrant of a king, yes; but a king, to be sure. It will be Sauron, in fact, who eventually convinces Denethor to claim that throne, since the kings will never be coming home now, and does not the Lord of the Rings merit a throne, even if he is not (never will be) a king?

It will also be Sauron who, having flattered the story out of Denethor, spreads the truth of what happened to their would-be king through the White City…although it will not be he who tells Faramir. That will be Boromir himself, in the cold hours one night, wracked with guilt and trying to invent excuses to lift the weight of it from his mind. Faramir will be horrified, but he will not speak out against his brother's actions then; he will have already learned, by then, when to keep silent under the weight of Denethor's dominion. There is a reason his father gave him a Ring, after all, and it was not because he thought Faramir deserved its power.

But that is later; for now, there are the few remaining members of the Fellowship to consider.

Frodo, having carried the Ring so far, has fallen under Denethor's sway. He will fall farther, soon: Denethor will gift him with the second of the three Nine Rings taken from the charnel of the battlefield, and will send him back west to rule the Shire and all its surrounding lands in Gondor's name. Sam will go with him, of course, because Sam is loyal and will remain loyal; even as Frodo falls deeper and deeper under the sway of the Ring, and becomes more and more of a wraith—more and more of a monster—at Denethor's hand, heartbroken Sam will always be loyal. Even as he grieves for what the Shire becomes under Frodo's increasingly merciless rule, and for the ever-growing distance and cruelty of his corrupted master, he cannot help but stay loyal.

Aragorn's friends and kinsmen do not know exactly what happened to him, but they know that some foul play must have been involved; they know, too, that their own lives are under threat in Gondor. They know too much, and their loyalty is not and has never been to Denethor. He is busy now with Sauron and with Frodo, but he will not stay busy forever. They need to go now, while they still can—but none of their attempts to politely take their leave are accepted, for while Denethor has more important things to deal with right now he also does mean to deal with them eventually, and intends to keep them cooling their heels in his city until he can spare them the proper attention. So he plans victory feasts, and pretends great grief at the notion of their parting, and says that they must stay until after Aragorn is laid in state in a great funeral as befits Isildur's Heir, and so on and so forth; one excuse after another after another, all fairly-couched and on the surface far too noble and justified to balk at. But they know it is a pretense, and they know they are running out of time.

(And Sauron is in the city, too. And if he is in chains…well, he has been in chains before. It did not stop him working evil then, and the Dúnedain know those stories well. They need to leave.)

So one night the survivors of the Grey Company leave Minas Tirith under cover of darkness. They go on foot for all that it pains the Dúnedain to abandon their loyal steeds, because they know they would not be able to sneak out with the horses. Legolas and Gimli go with them—or at least, Gimli was supposed to be with them. But Gimli stayed, because he feared that he would slow them down. Worse, he feared that he would slow Legolas down. He remembers how tireless the elf was during the pursuit of Boromir; remembers thinking that if Legolas had been unfettered by mortal limitations, he would have been able to outpace him, and perhaps all this would have gone differently. He thinks about the fact that Mirkwood is not so far to the north, and how Legolas could probably cover that distance in a little more than a week if he were alone; he thinks of how much slower he would go, if he had a dwarf in tow, and how likely that delay would get him killed, and so Gimli stays.

The rest of them disappear into the night in their grey cloaks, fading into the wilds as only those who walk with the light tread of Rangers or elven-kind might do.

Gimli begs the sons of Elrond to lie for him, and so it is not until they are many miles from the White City that Legolas discovers his friend did not come with them, and by then it is too late to go back—and even if he did, what would he do? Drag Gimli away with him? The dwarf chose to stay, and chose not even to say farewell. Well, that was his choice to make; Legolas cannot unmake it for him.

So Legolas returns to Mirkwood, bereft and bewildered by Gimli's betrayal, and throws himself into the doomed fight against the Shadow there. Galadriel did not throw down the walls of Dol Guldur, after all; she, too, knew the moment that Denethor claimed the One Ring for his own, and she knew what that would mean for Lothlórien. She and Celeborn did not lead their forces across the river to aid Thranduil; they stayed in their forest, and prepared for the end.

Without Lórien and Nenya to dwindle the forces of the Enemy, Erebor fared poorly in the war. The dwarves nonetheless held out long in the siege against the orcs and goblins of Mordor, but when Denethor sent forces from Gondor to aid the armies that had once been Sauron's and were now his, the dwarves thought that the Men were coming to their assistance. They sallied forth from the mountain, meaning to trap the orcs and goblins between the two armies…and were instead subjected to a vicious slaughter, as Mordor and Gondor fought side-by-side against them.

Denethor told Gimli, who had stayed in Minas Tirith with the thought that he would act as a delay on whatever pursuit would inevitable follow Legolas and the Grey Company, that his people's army has been decimated and the surviving dwarves are trapped in their mountain under a siege they have no hopes of either outlasting or escaping. He tells him that Dain is dead, and all the line of Durin, and every person living in the Lonely Mountain will be slaughtered if they continue to defy Gondor…or he can claim lordship of the mountain, and make peace with Gondor on Erebor's behalf, and so save them from destruction.

Gimli accepts the terms, because he sees no other choice. He accepts the Ring that Denethor insists he take (the Ring that once belonged to Durin, and which was reclaimed from Barad-dûr by Faramir's scouts, and brought to Denethor as Master of the Rings), if he is to be a vassal-lord of Gondor, for the same reason: he has not choice. He does what must be done, and he goes to Erebor, and he saves his people by damning them to Gondor's rule.

Dale was sacked and devastated, and Denethor declares it to be a vassal state of Erebor now, under the dominion of the dwarves. The farms of Dale deliver their crops to the Lonely Mountain, which disperses a share of the harvest back to them according to Denethor's will. Mirkwood belongs to the Nazgûl in Dol Guldur, but still has bands of elves in its trees, fighting and dying.

(As for Lórien…that story is told elsewhere.)

Merry and Pippin were in Edoras, and do not learn of what happened to everyone else until Queen Éowyn returns with the few survivors of Rohan's army. She will not be bound by a Ring yet, but in less than a year Denethor will demand more obsequience than he thinks Rohan is offering. (Partly this will be due to his own paranoia, earned under long years of striving against the Shadow with the palantir; part of this will be due to the bold temperament of Rohan in general and Éowyn in specific, and their dislike of all things that reek of the Shadow; the last part will be due to Sauron whispering in his ear, sowing division between the realms of Men.) Éowyn will be forced to take a Ring, the third of the three Nine Rings that was found in the ashes of Gandalf's death, and Rohan will now fall fully under Gondor's domination.

But that is later; for now, there is Saruman to consider. He slips out of Isengard, when the Ents tire of watching him. Knowing that he cannot oppose Gondor now that Denethor has claimed the One Ring and a victory over Sauron as well, he slips away to his fallback position in the Shire. That goes well enough for him, at first—but then Frodo and Sam come back from Gondor with a Ring on Frodo's hand and no mercy in his heart. Saruman does not know what to make of this quasi-wraith of a Halfling, and he makes the mistake of treating him like an ordinary Hobbit. Frodo is no longer someone who can be cowed, at least not by anything less than the One Ring itself: in his wrath at what the wizard has done to the Shire, he destroys Saruman using the power of his Ring, and so tips his soul entirely into its domination.

Sam remains loyal, though. Sam will always remain loyal to his Frodo.

[prince-liest]

I just wanted to say how much I appreciated you sharing an example of how you outline your fics a few days back! I hunted you down on Tumblr after devouring everything you wrote for Hazbin Hotel because it is SO GOOD and the characterisation is always on point, and it's been so interesting hearing more about your thought process.

I've always been a bit of a half-hearted 'seat of the pants' type fix writer, and it had never really clicked how to actually do outlines in a way that worked for me. But I tried your outline style with the latest chapter of my own Hazbin Hotel fix and writing it somehow became way easier??? So thank you for apparently converting me to a planner after 28 years of life 😅

YES!!!! I'm so glad!!!! I think a lot of people see outlines as this, like, extremely formal and structured thing that they were forced to do in school before writing an essay, and while I think those lessons were important in teaching how to do a Proper Outline before deviating from form for your own purposes, it is fundamentally meant to be a tool that is helpful for you, not a chore that you perform purely out of obligation.

For me, outlines are an extremely helpful stepping stone between "I have an idea" and "the idea is fully formed as prose." A lot of the energy of writing goes into creativity, and trying to hold all those ideas in your head long enough to get them down on paper as a fully-written story is really difficult, especially when you get into the brainstorming and are coming up with ideas or scenes or dialogue much faster than anybody can reasonably write prose! So an outline is just there to hold them for you. :) And then when you sit down to make actual pretty sentences, you're performing the work of "turning ideas into prose," not "coming up with ideas" PLUS "turning ideas into prose". It breaks the task of writing up into smaller tasks that take less energy individually! That's why it feels so much easier!

(And thank you so much!!! <3 I actually really enjoyed answering that ask, so I'm very happy that you found it to be helpful!)

[yaralulu]

Thank you for the tag @sad-scarred-sassy @highlordofkrypton @achaotichuman !! This is so fun!!

Describe your writing process from idea to posting/publishing?

My writing process is very …ungraceful lol. Most of my fics stem from random dialogue that I came up with on like the bathroom floor and I just build a story around that dialogue. Usually I take a few days to kinda plan the fic and to brainstorm the overall scenes in it. Fill in the gaps on what happens before and after the main dialogue, figure out character dynamics and timelines,etc.

Once I have a solid idea of what I want to write, I will procrastinate for like week because I’m annoying 👍.When I finally get a surge of motivation/I force myself to open a new document , I just start writing whenever and wherever I can (I write on my phone because I am the farthest thing from a professional). I’m a relatively slow writer so it takes me either a week to finish something or a month,just depends.

Are you a plotter or a pantser?

Definitely plotter. I need to have a basic outline of what’s gonna happen before I even consider writing something.

What do you listen to when you are writing?

Nothing! But listening to songs that remind me of the fic i’m working on definitely puts me in the mood to write but I don’t listen whilst I’m writing.

What’s your drink of choice(while writing)?

Very rarely am I ever eating/drinking something when I’m writing. Either I’m slumped on my bed or I’m literally in the middle of a public place (professionalism 👍).

Promote yourself! What’s your favorite thing you’ve written?

My beloved luzriel fic Want by Proxy. I’m sure you’re all sick of hearing me talk about it but it’s my child. I’m very proud of it! (however my actual fav thing is lowkey all the things i’ve written for lucienweek hehe.)

Share a fic of yours that you think is underrated/deserves more love.

Oh boy. My tamcien angst fic a bridge between us flopped so bad on ao3 but I really love it!! It’s short and yet very angsty and exactly the kind of tamcien stuff that I like to read. Honestly a little scarred by how bad it did LOL but I’ll get over it.

Do you have any advice for new writers?

I’m a baby writer myself and genuinely my number one advice is: Stop comparing yourself to other writers. It’s such a hard cycle to get out of when you’re a new writer but you cannot keep looking at experienced writer’s works and comparing yourself to them. With time and effort, you’ll be just as good but beating yourself up because you’re not as good as them right now will get you nowhere. Just keep writing!! Have fun and write what you wanna read and before you know it you’ll be just as good!!

What is a writing style/technique that others do really well that you'd like to get better at?

Descriptive writing!! I feel like I’m slowly getting better at writing descriptive settings but still it’s very hard. I just wish I had the ability to string words together so beautifully that you could literally picture what I’m talking about.

Using prose and lyrical language is another thing I aspire to be good at. I really admire people who write absolute poetry in their fics. Like the flow and language they use is just insane and so evocative. Being able to make readers feel the character’s emotions because of the strong language used is definitely something I want to get better at!!

Is there a character you were surprised you enjoyed writing as much as you did?

Azriel!! He really took me by surprise but I really enjoyed writing his personality and stoicism. Writing guarded characters is very fun because even I don’t know what the hell they’re feeling lol. It was definitely a guessing game trying to figure out how he’d react to stuff but I enjoyed crawling inside his head.

Also Eris!! I now understand why so many of my mutuals love writing him because he’s genuinely so.freaking.fun to write. Something about his aesthetic is just so addicting. Like I had a blast picking out what he wore in my fic and describing the clothes and his hair like he’s literally a princess. His aura just makes my brain go brrr. He’s just such a fun character to play around.

Tagging: @the-darkestminds @olenvasynyt @viktoriaashleyyx @sonics-atelier and whoever would like to join in!!

[guardsbian]

21, 27 & 28 for the writers ask meme? 🙌

21. What aspect of your writing are you most proud of?

I think my character writing. Even if they sometimes suffer from my more amateur pacing and such, I'd say I'm pretty good at conveying their personalities, priorities, and voice. I feel like distinguishing my characters from each other isn't something I tend to struggle with, and I think through dialogue and prose (dialogue especially) I'm nearly always satisfied with how their voices come through.

27. Every writer's least favorite question - where does your inspiration come from? Do you do certain things to make yourself more inspired? Is it easy for you to come up with story ideas?

Aw, I don't dislike this question at all. I mean, I don't really have a good answer— literally stuff just pops up for me. I guess things like music, working out visuals, and doing character design gets me thinking about a world, but initial ideas for worldbuilding, plot, and characters spring up out of nowhere.

Though I do like using prompts for certain projects? Not writing prompts, more just like... TTRPG style prompts. Where some stuff is left up to chance, so I get to brainstorm about how to fill in the gaps and make everything fit together.

Still, generally my ideas just start stretching on while I'm doing other things.

28. How do you stay focused on your own work and how do you deal with comparison?

I don't really compare my work itself to others'. Performance online, yes, admittedly, but not the actual quality of my work. No one else is writing what I am, even with similarities in genre or tropes or prose. At most I just try to learn from what other people are doing.

My focus does tend to drift between my own projects, but I'm starting to accept that. I shouldn't stop working on something just because I feel like I should be working on something else.

[stalwart-spirit]

List 5 things that make you happy, then put this in the askbox for the last 10 people who reblogged something from you! get to know your mutuals and followers (ू•‧̫•ू⑅)♡

I got two of these sent to me, but only doing one batch cause I am boring (and literally just got home from work ahaha)

Loved Ones: As typical of an answer this is, it's definately true. Family and friends included, they always find a way to make me happy. Be it sending silly messages or memes, finding a way to perk me up when I'm feeling down, to just... Generally being great people. Don't know what I'd do without them, and I love everyone dearly.

Artistic Endevours: I'm an artist, taking commissions as well as specialising in illustration and character designs! I love being able to sit down and brainstorm ideas, plan something out and work my arse off in making it, or being given a commission with such a fun design brief to work on. This also includes writing! Favourite thing to do is sit and come up with stories and characters, giving them visual designs and then writing proses for them.

My Cats: Oh my God do I love them. Mia and Tizzy, my two beloved tuxedo'd idiots. Outside of doing stuff that makes me laugh, they literally are so perceptive to moods. If I'm sad or feeling ill, they literally will stay by my side, sleep with me, hang around me. Always love to cuddle up and be around me and my family. My heart honestly melts at how Mia always begins purring upon SEEING me, or how Tizzy is so talkative when getting attention of any sort.

Dungeons & Dragons: MEDIA SPOTTED. Nah for real though, it's not just the game itself that I love (I actually have dyscalculia so the maths part of it I hate, thank God I play online), but a lot of the creativity surrounding it. I love the roleplay, being a part of a story with a group of others who also love worldbuilding, having your own character plot and goals to follow, the writing, the art you can make. It's like being in your own TV show, where everyone participating is the main character. Aformentioned close friends are all who I play with! Been playing D&D since 2018, but been in my forever group for about 6 years now, one campaign done and still at the start of a new one! Also despite purely playing online, I'm a horrific dice collector.......

Being A Homebody: Sure, I love going out and being with friends and travelling, but there's something about either coming home from a day out or getting up and knowing that you are free to not go anywhere... Having everything you need in one place, staying comfortable, warm, secure. No commitments, no worries, only relaxation! It's been nice lately to be able to clean and decorate my own room and make it my own space, getting to relax and play games on my monster of a PC to my hearts content but still being connected to other people when the social need arises.

Also going to try and pass this message on, but I know that some of ya already have it already and answered it multiple times, so I don't wanna overwhelm!!

[warrioreowynofrohan]

22, 58, 75 for the fic ask game? :)

I am SO sorry, I was so excited and happy to get this ask and then I never answered it! <3

22. Are there certain types of writing you won’t do? (style, pov, genre, tropes, etc)

There are a lot of things I don’t know how to do - action, for one. There are a lot of things I’m too lazy to do, like detailed worldbuilding. And all my fics so far have fallen into fairly similar patters - either emotional reflections or emotional conversations. But until 2019 I’d never written any fanfic at all, or even considered it, so there’s no saying that won’t change.

I don’t usually connect with a lot of the writing exercises that I’ve noticed as common on tumblr. I can’t take a one-word prompt and create a story from it, or start out with a trope and build a story around it. I look at the long lists of characterization-building questions and can’t answer most of them for most characters I write, even canon ones. Basically, I’ve never done any practice or any disciplined writing, and when I look at the ways you’re supposed to practise I draw a blank. I just occasionally get an idea that connects with me emotionally and even more occassionally manage to write it down.

58. What part of the writing process do you enjoy the most? (Brainstorming, outlining, writing, editing, etc)

I like getting a new idea and outlining it, and I like writing down the parts that are clear and vivid in my mind. I’ll usually have spent a while daydreaming about something and mentally assembling it before I start writing it down, and will by then have a sense of many of the key things I want to do. That part is fun! After that it gets into the more challenging parts of pulling together all the other elements that need to be there but that I don’t have the right words for. And I’m downright awful at editing - reading prose that sounds wrong in my head doesn’t make me want to fix it, it makes me want to close the document and walk away!

75. What scene in Ashes took the longest to write? What was difficult about it?

That depends on whether write means times spent actually writing or time spent leaving it alone because I didn’t know what to do! 😂 Chapters 7 and 8 were the longest in the making by far, because I had a sense of the major moments in the emotional journey that needed to happen, but I was having trouble putting them together in a way that worked. Chapter 7, with a lot of help and advice from friends, came together pretty well - the Finrod and Fingon conversations stayed similar to what I had planned for a long while but the timing got rearranged , abd the Finrod-Turgon conversation helped a lot with getting the other parts to fall into place without Maglor having too many repetetive conversations. Chapter 8 was even more challenging abd in the end I’m not sure it did work the way I wanted it to; it was one of the pitfalls of being very much a plotter rather than a pantser, that I didn’t know any way to substantively anend it from my earlier ideas without breaking everything that came after, which was the stuff I wanted to get to.

[the-yuri-librarian]

What kind of content do you want to see?

I am brainstorming content I could make for this blog, but, unfortunately, most of my creativity is in the form of the written word. I can't like draw or anything. So, I was thinking one idea for content could be live blogging about the yuri content I read, whether its books, manga, manhwa, etc. My question is: is this something people would be interested in? Would you still be interested if it is a yuri that finished publication five years ago with no updates since?

By live blogging, I mean specifically posting my responses to, analysis of, and thoughts on whatever yuri material I am reading as I am reading it. These responses will probably have an emphasis on analysis, particularly when it comes to story structure and the actual craft aspects of the writing. I would also be sharing my favorite panels from each chapter, or passages if it is prose.

I have a Masters of Art in English with a concentration in literature, and have studied creative writing extensively, so I think I may have some interesting things to say, but I am just wondering if anyone would be interested in that content.

I also plan on doing reviews and stuff, but those are probably weeks away as I am currently wrapped up in other writing projects, but I don't want this blog to collect dust.

so, let me know if that is something you'd be interested in, i guess? I mean, I don't really have an audience yet, so I don't exactly expect a ton of response.

I think my first live blog series would be of the manhwa Blooming Sequence by Lee eul. Once I finish the series, I would then of course post a proper review of it.