#like your love interest should be your antagonist that's the problem

[writingwithcolor]

What Makes an Ethnic Villain "Ethnic" or "Villainous?" How Do You Offset it?

anonymous asked:

Hello WWC! I have a question about the antagonist of my story. She is (currently) Japanese, and I want to make sure I’m writing her in a way that doesn’t associates [sic] her being Asian with being villainous.  The story is set in modern day USA, this character is effectively immortal. She was a samurai who lost loved ones due to failure in combat, and this becomes her character[sic] motivation (portrayed sympathetically to the audience). This story explores many different time periods and how women have shown valor throughout history. The age of the samurai (and the real and legendary female warriors from it) have interested me the most, which is why I want her to be from this period.  The outfit she wears while fighting is based on samurai armor, and she wears modern and traditional Japanese fashion depending on the occasion. She acts pretty similar to modern day people, though more cynical and obsessed with her loss. She’s been able to adapt with the times but still highly values and cherishes her past.  She is the only Asian main character, but I plan to make a supportive Japanese side character. She’s a history teacher who knows about the villain and gives the protagonists information to help them, but isn’t involved in the main plot otherwise.  Are the way I’m writing this villain and the inclusion of a non-antagonist Japanese character enough to prevent a harmful reading of the story, or is there more I should do?

Why Does Your Villain Exist?

This makes me feel old because David Anders plays a villain with this kind of backstory in the series Heroes starring Masi Oka. 

I think you want to think about what you mean when you say: 

Villainous (In what way? To whom? To what end?)

Harmful (What tropes, narratives and implications are present?)

I’m relatively infamous in the mod circle for not caring too much about dimensions of “harm”. The concept is relative and varies widely between people and cultures. I don’t see much value in framing motivations around “What is less harmful?” I think for me, what matters more is: 

“What is more true?” 

“Are characteristics viewed as intrinsic to background, or the product of experiences and personal autonomy?”

“Will your portrayal resonate with a large audience?”

“What will resonate with the members of the audience who share the backgrounds your characters have?” 

This post offers additional questions you could ask yourself instead of “is this okay/not okay/harmful.” 

You could write a story where your antagonist is sly, sadistic, violent and cold-blooded. It may not be an interpretation that will make many Japanese from combat backgrounds feel seen or heard, but it’s not without precedent. These tropes have been weaponized against people of Japanese descent (Like Nikkei Japanese interned during World War II), but Japan also brutalized a good chunk of Asia during World War II. See Herge’s Tintin and The Blue Lotus for an example of a comic that accurately showcases the brutality of Japan’s colonization of Manchuria, but also is racist in terms of how Japanese characters are portrayed (CW: genocide, war, imperialism, racism).

You could also write a story where your character’s grief gives way to despair, and fuels their combat such that they are seen as calculating, frigid and deeply driven by revenge/ violence. This might make sense. It’s also been done to death for Japanese female warriors, though (See “Lady Snowblood” by Kazuo Koike and Kazuo Kamimura here, CW: sexual assault, violence, murder and a host of other dark things you’d expect in a revenge story). 

You could further write a story where your antagonist is not necessarily villainous, but the perceived harm comes from fetishizing/ exoticizing elements in how her appearance is presented or how she is sexualized, which is a common problem for Japanese female characters. 

My vote always goes to the most interesting story or character. I don’t see any benefit to writing from a defensive position. This is where I'll point out that, culturally, I can't picture a Japanese character viewing immortality as anything other than a curse. Many cultures in Japan are largely defined by transience and the understanding that many things naturally decay, die, and change form.

There are a lot of ways you could conceivably cause harm, but I’d rather hear about what the point of this character is given the dilemma of their position. 

What is her purpose for the plot? 

How is she designed to make the reader feel? 

What literary devices are relevant to her portrayal?

(Arbitrarily, you can always add more than 1 extra Japanese character. I think you might put less pressure on yourself with this character’s portrayal if you have more Japanese characters to practice with in general.) 

- Marika. 

When Off-Setting: Aim for Average

Seconding the above with regards to this villainess’s story and your motivations for this character, but regardless of her story I think it’s also important to look specifically at how the Japanese teacher character provides contrast. 

I agree with the choice to make her a regular person and not a superhero. Otherwise, your one Asian character is aggressively Asian-themed in a stereotypical Cool Japan way (particularly if her villain suit is samurai-themed & she wears wafu clothing every so often). Adding a chill person who happens to be Japanese and doesn’t have some kind of ninja or kitsune motif will be a breath of fresh air (well, more like a sigh of relief) for Japanese readers. 

A note on characterization—while our standard advice for “offset” characters is to give your offset character the opposite of the personality trait you’re trying to balance, in this case you might want to avoid opposites. You have a villainess who is a cold, tough “don’t need no man” type. Making the teacher mild-mannered, helpful, and accomodating would balance out the villainess’s traits, but you’ll end up swinging to the other side of the pendulum towards the Submissive Asian stereotype depending on execution. If avoiding stereotypes is a concern, I suggest picking something outside of that spectrum of gentleness to violence and making her really boring or really weird or really nerdy or a jock gym teacher or…something. You’re the author.

Similarly, while the villainess is very traditionally Japanese in her motifs and backstory, don’t make the teacher go aggressively in either direction—give her a nice balance of modern vs. traditional, Japanese vs. Western sensibilities as far as her looks, dress, interests, values, etc. Because at the end of the day, that’s most modern Japanese people. 

Sometimes, the most difficult representation of a character of color is making a character who is really average, typical, modern, and boring. 

- Rina

[tench]

Veilguard is such a weird game.

It's not a Dragon age game, it's bately a role playing game. It's an ok action. Even though it is the most stable AAA release it is still just a bunch of barely tied together stuff in a trench coat.

The writing (insultingly dumbed down and absolutely incapable of taking itself seriously untill the last 1/6 of the game) is all over the place, the direction is nonexistent judging by the tonal shift from one quest to another. We can have very heart felt monologue about the fear of death sit right next to a conversation where a lot of things are told using one specific phrase (I really hope in a clumsy attempt at emphasis) repeated till these words lose any meaning to you.

There's also a problem of role-playing in this "rpg" and the Rook. None of your dialogue choices matter in terms of defining your character, no matter the option you choose, the general conversation will carry the upbeat silly tone. "Your backstory and class matter more than your race" works untill it doesn't, like when you are a dwarf but you are denied your own journey and realizations tied to the titans, and maybe it is not your journey to take yet you can't even try to be a part of it, even when Harding is actively reaching out to other dwarves to share this connection. It's also weirdly more interested in writing romance between npcs than for the main character (Lucanis comes to mind, it feels like the game is actively punishing you for pursuing him, you have to lose the whole shadow dragon faction, you won't get to hang out with Dorian and still you have bare minimum and he more interested in Neve anyway), that's extremely funny that this game is player-sexual yet completely player-aromantic. (And I miss the dai option where you can come up and kiss your LI whenever you feel like it).

I won't even touch on the weird and unnecessary sanitation of everything, like we can't allow people or factions to have negative traits whatsoever. And it's not "southern propaganda", it's "we are not engaging with complex topics for the sake of clear dichotomy between good us and evil overlords". Speaking of which

The whole plot.. The general idea of it is ok. You come to stop Solas, you make the situation go sideways, you have to work together to fix your mistakes and maybe learn to sympathize with the antagonist haunted by his own transgressions with the main theme being legacy and your relationship with your culture and the baggage it brings. But the journey is a complete disaster. Part of it works solely because the characters absolutely Refuse to make a plan and the other - because the main character has a blunt head trauma. Maybe it's related. Maybe it's all a mass hallucination. I may try to elaborate on how it's absolutely ridiculous how little the inquisition and the politics have any impact in this game yet somehow 8 people squatting in the Fade with no political affiliations are held responsible for providing for every faction they come across. I won't even try to make sense of it. It's the usual case of "the main character does everything".

The direction is not only absent in the writing. Some lines that are ok in text delivered in such a way you may think they were allowed only to use the very first take.

The music is absolutely forgettable. Also the odd riff during the dramatic reveal absolutely took me out because I thought I heard kazoo (but I bet Varric would love it).

The visuals are.. Ok. It's pretty on the first glance but the more you travel the more you realize that the general design of the locations are kinda lacking. They have this weird gradient that makes everything a little bit more unfocused and a bit washed out. There are also too many cases of the horisont just drowning in the fog. Air perspective is great and it suits locations like Necropolis, but I would argue that these establishing shots should be used for environmental storytelling in other places, with some focal points in the background, like during the final mission where you see the world absolutely drowning in the blight, devouring local statue of liberty. Or the dead Titan. Or the first shot of the Veil jumper forest (I forgot how it's called) where you see the ruins going into he sky. But because of the fog (or sometimes darkness) it feels like the game is more interested in cheating the optimisation than to hint on the bigger picture (like the chantry and the gallows buildings that you can see almost from all locations in DA2 or the andrastian/dread wolf imagery of inquisition)

So, in conclusion. Not the worst game I played, yet disappointing, even if we pretend it's not an installment of a beloved franchise that people were waiting for 10 years.

Ps. Also making such a game with nerfing all the lore only to nuke all the legacy locations is a choice I won't ever understand. It's like it is not for the fans and it's not for the new people but a secret third thing.

[thedissonantverses]

The Inquisitor failed where Rook succeeded.

These games aren’t about Solas and the Inquisitor and it would actually make the story incomprehensible and worse if that was the case.

Or my breakdown of why having the elven agents would have been a no good, very bad terrible idea.

So right off the bat my first problem with this is that I don’t care about Solas’ loneliness. It’s his own fault. He killed his friends. I like the character. I understand his motivations. I redeemed him. He is compelling. He’s still the antagonist. He still committed atrocities. You can ship him all you want. I do.

But you cannot uncouple what he’s done to rationalize his actions. He willingly got a body. Sure Mythal might’ve manipulated him but he did in fact make the choice. Same with the Titans. For that alone he’s a monster. Forcing all the blame onto Mythal ignores the text and no it’s not surprising some people latched onto the nearest woman to excuse a man’s actions. She is culpable and he is culpable. They’re both Evanuris no matter how much that chafes Solas’ mythology about himself.

Solas also let the elven gods out then lied to Rook when he blamed them because it’s his whole m.o. He fucked up a ritual he shouldn’t have been doing in the first place. Hell even if Solas didn’t fuck up his own ritual a second time, it’s still his fault. If he had asked for help a single time none of this would have happened. Varric would still be alive as would all of the people Elgar’nan and Ghiln’nanin killed.

Forcing in elven agents, where we would mostly likely be forced to battle and kill them, would be the worst way to handle the elves in DA. Like it’s an exceptionally bad idea. Which is why I’m so glad they didn’t do it. You cannot tell me that you like the elves and understand the lore then have them start what amounts to a holy war in retaliation for past holy wars on behalf of a man who wants to openly destroy their world. Then turn around and say BioWare hates the elves. Or that they handled the Dalish badly because they sure did a better job than you did. It’s a level of cognitive dissonance that is truly baffling.

This story is not about the Inquisitor either. The Inquisitor, oh wait another holy figure, I don’t care how much you said shem in your fanfiction. The narrative has already set up the Inquisitor to be like Solas you don’t need to enforce this yet again, it was done well the first time. The Inquisitor failed to capture him because they think too much like him. Which is what Trespasser was about.

Rook is well established in the first major scene with Solas both visually, thematically, and narratively. Knocking down Elgar’nan’s statue. Thinking of a strategy no one else did because they let Solas set the terms of the match. Varric, knows all this, and knew he was most likely going to die talking to Solas, set Rook up in his place. Varric who found the lyrium dagger and set all of this in motion. Varric who sets Rook on the board to belabor the chess metaphor. Rook, because of all this, is a much better narrative foil for Solas because they are just a mortal and all but nameless and not some mythical divine figure sent from on high for Solas.

Solas has killed and driven away all his friends including your beloved Lavellan. He sure didn’t love her enough to tell her the truth when he should have. Rook knows they need help. They could never do anything else.

A mortal willing to stand against gods? That’s what’s compelling. Good people pulling together to fight tyranny is always going to be a better story than a man who betrays the people he loves at every turn.

Dragon Age has such a rich and interesting lore and frankly at this point twisting everything to be about one character is disrespectful to almost 20 years of crafting on the part of the writers and creative team. It actually makes me angry that their hard work is being torn apart because people want to force everything to be about one character. Not only did you completely miss out on a beautiful story to force an interpretation like this, you don’t even know what universe you’re in.

TLDR: The story is called Veilguard because it’s about Rook and the Veilguard. Hope this helps.

[writingquestionsanswered]

I love planing out my ideas in great detail but when it comes to actually writing the story it’s like pulling teeth. It goes from being fun and interesting to being nothing more than a dull chore. I’ve tried planning less to see if having some things unknown might help, but that didn’t work. I could spend forever writing and rewriting my ideas and making changes to them. But when I try to write an actual story it’s like I physically can’t. What should I do?

Details Planned But Unable to Write

If you have the details of your story planned out but still aren't able to write it, it's probable that one of the following things is happening. See if any of these strike a chord with you...

1 - Details and Plot Are Not the Same - Sometimes writers say they have all the details in their story planned out, but what they actually mean is they've fleshed out character and setting details, maybe even backstory and some general scene ideas, but they couldn't tell you what the story's conflict is, what the inciting incident is, what goal the protagonist is pursuing and why, what's at stake, or what the major plot points of the story are. No matter how detailed your story is in terms of characters, setting, backstory, and even general ideas about scenes, if you don't have a conflict to tie them all together, you don't really have a story. You just have details. A plot can't be moved forward if it doesn't exist, and if you don't have a conflict, goals and motivation, stakes, an antagonistic force and obstacles, etc., you don't have a plot. Solution: take some time learning about Goals and Conflict, Plot Driven vs Character Driven Stories, Basic Story Structure, and How to Move a Story Forward.

2 - You Lost Interest in the Story - If you have your story properly plotted in addition to having the details fleshed out, and you're still unable to write, it could be that you've simply lost interest in the story. This can happen when we spend a lot of time on a story, especially if we spend a lot of time fleshing things out. Solution: Guide: How to Rekindle Your Motivation to Write, Getting Unstuck: Motivation Beyond Mood Boards & Playlists, Getting Excited About Your Story Again

3 - Something in the Story Isn't Working - Imagine someone riding a horse and they come to a rickety old bridge, but the horse balks and refuses to cross. The horse may just be stubborn, but it's quite possible it's picking up sensory information its rider can't... creaks and groans the rider can't hear, a worrisome tilt or sway the rider can't perceive... If you sit down to write your well planned out story and can't, the same thing could be happening with your gut instinct. Like the horse that doesn't want to cross the bridge because it senses danger, something inside you is saying "this story doesn't work" and isn't excited to get involved. Solution: Read through your outline or plan and see if you can spot the problem. Maybe the character's goal doesn't make sense with the events of the story. Maybe the antagonistic force isn't doing enough to oppose the protagonist. Maybe the character arc is out-of-sync with the events of the story. If nothing else, talk it through with a trusted writer friend to see if they have any thoughts. Sometimes just hearing the questions they have about the story can be enough to highlight what isn't working.

4 - Life Stuff Is Getting in the Way - Even if your story is well fleshed out and thoroughly plotted, and everything works and you're excited about writing, there can be other things going on in your life that stand in your way. If you're putting too much pressure on yourself to write or reach certain writing goals, it makes writing feel stressful and our brains are wired to avoid stressful things. It could be that you're not feeling well physically or mentally. You could be distracted by other things you want to write or do. You could just be too busy with other things to really get into it. Or you could just be not in the mood to write. Solution: Try to pinpoint what's getting in the way and see if there's a work around. For example, if you think writing has become stressful and that's why you're avoiding it, figure out what you can do to make it fun again. Or, if you think you're just not in the mood to write, figure out some things you could do that would put you in the mood to write.

5 - Fear Is Getting in the Way - Details are easy, writing is hard. No matter how much planning and plotting you've done, actually putting those details into coherent words in a way that is compelling and well-paced--that's not so easy. And, the tough reality is that until you've had a lot of writing experience, your writing probably isn't as good as you want it to be. You want it to be good, and you know what would qualify as good, but you're just not able to produce that quality yet. And the only way to get your writing quality to that level is to let yourself write things that aren't as good as you want them to be. You have to write a lot of "just okay" stuff before you can write "really great" stuff. AND THAT'S SCARY!!! And--that's not even the only thing that can cause fear for writers. Maybe you have written a lot and your writing is where you want it to be, but maybe your fear is with the next step... sharing it with others. Maybe you're afraid others won't enjoy it as much as you want them to. Solution: figure out what's causing the fear, whether it's quality-related or next step related, then try to push through it. Remind yourself that writing not great stuff is part of the process. Remind yourself that sharing with others is part of the process (usually, unless you're writing for yourself.) Have a spin through the bottom half of my Motivation master list for other fears and solutions.

I hope that helps!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[doodlinge]

my writing tips, that i think people will find useful:

- write dialogue first and THEN make a scene around it.

i like to do this sometimes for multiple reasons. first, if you’re in a flow of good ideas, getting dialogue done will be a future GAME CHANGER. you don’t have to be stuck fussing over little word choices because you just do it when you have a good idea, and it works! fuss over it now, save time for descriptions later. second, the characters you’re writing usuuallly wont be able to read eachother’s minds. we people do everything by communication and talking! so, map out what you want your scene to look like through dialogue! i like to do mine as a screenplay or movie script, so that way i can ensure that the characters are speaking Like Real People (tm). and THEN I READ IT OUTLOUD >:)

- map out your chapters before you start to write. seriously, do it.

so, personally, my favorite part of fanfiction and writing is the planning stage. and i like doing it on paper, but we’ll get into that after this. first, you get the idea, the spark in your brain that could make an AMAZING story, comic, or au. that’s the general premise to work off of! write that down, if you need. next, do a VERY rough draft of what you want to happen—specifically, the 3 main points of your story: the beginning event, the middle event or climax, and the ending event, or your point A, B, and C. work off of and build up (or build down) from each of these core events of your story, planning the small events that lead up to The Big Guy (or B). these ideas or premises for each leading event can and probably will be VERY, VERY rough, but once you’ve got the rough idea of what will probably happen done, you can get to work on MORE PLANNING (sorry guys. learn to enjoy it)

- PLANNING PART TWO BABY WOOO (plan out your chapters. and if it doesnt work when you’re writing it, that’s okay!)

this is what you will do before you write your chapters, that works for me way better than just going in with no plan. personally, when i started to write the fic i’m currently writing, i mapped out all the rough details that i want to happen in the climax chapter of my story, because most people find the middle the hardest part. since i already had an rough idea of what would have happened before the climax with my previous planning stage, i already was able to connect how all of the buildup would lead into the climax of the story pretty easily. every action in your story will have a consequence, big or small, and that all will lead up to your protagonist bursting into tears or the main couple confessing their love or the final, epic battle between the protagonist and antagonist! if, when you’re writing, the rough idea you had just isn’t working out, you can either a: redo it completely if it’s a huge problem, or b (my favorite): work around it in the moment and improvise. i ended up making my fic’s climax way better just because of the extra scenes i added in while writing, but since i had my original plan to work off of, everything was a lot easier.

- make every scene with a motive to accomplish

most people know this one, but i thought it was good to add in. whether it’s to flesh out the world around your characters with fun and shenanigans or to give the audience a little more insight into a character who will be useful in the future, every scene and every chapter should have a purpose. when people act, they also like to give their characters motivations, and for a while, i wasn’t sure how that could connect. however, now i understand. let’s say a character is trying to motivate another one to be brave and face their fears, but character a is actually only interested in their own interests. character a’s motivation is to be self-serving—they’re not as concerned with helping character b, but instead, they want to help themself. this shows a lot about character a! when you have a purpose for every story beat and a motive for each character, it can help you flesh out the character much better.

- show don’t tell (and what i interpret that as)

okay, so for a while, i had NO idea what show don’t tell even meant. i LOVE writing about my character’s thoughts, their interests, their perspectives on what’s going on around them. character analysis is one of the best parts, for me! but there are ways to show what a character is thinking without the use of heavy description. for example, take this part from the fic i’m currently working on right now:

the character i’m writing for had not mentioned her mom the entire chapter, but when you go back and analyze her character throughout it, you can see major hints that part of why she who she is stems from her trauma with her mother. when she connects to an older adult female figure and feels understood, the issues she has are shown and not told, clear as day. by using dialogue and trusting your audience to connect the dots about your characters, you can make a better-written story! remember motivations; sometimes, characters don’t even know they have the motivations that they do, and the audience has to figure it out based on context clues. leave room for intrigue and mystery! think; if you were this character in this situation feeling the way they felt, what would you do? what would you say? why would you say it, and what would that reveal about you?

- write one story beat per day and WRITE ON PAPER

the word count, for me, doesn’t matter. if the quality of your writing is good, and the pacing gives audiences room to breathe, then that’s enough! quality over quantity, in my opinion. if you’re not up for writing, PLAN CHAPTERS! plan scenes, plan events! plan dialogue, make it fun! that is writing too. for me, when i have the planning done, i go with the One Story Beat Per Day Rule. if you get one small event done each time you write, you’ll be finishing The Big Event you wanted to accomplish in no time. and if you’re in the middle of a big story beat and you just need a break, i’d say to take one…. and later, come back with a notebook and a pen and think. paper has helped me write better because the flow of thought just keeps going when i’m focused, and i think it might work for a lot of people.

- remember, YOU CAN DO THIS! MAKE IT FUN!

writing and finishing stuff is really, really hard. but if you get one small thing done for the characters in your story, comic or au each day… you’ll eventually have an amazing, finished story. make it fun for yourself. listen to music, act out the scripts, use color theory, analyze your characters and don’t make it a chore! every small step contributes to getting to the top. make something you will love to write, and that you will love to read. make something for yourself, because in the end, if you enjoy it, the audiences will enjoy it.

[leaderwonim]

꒰ 사랑𝐒𝐀𝐑𝐀𝐍𝐆: 𝐩𝐚𝐫𝐤 𝐬𝐮𝐧𝐠𝐡𝐨𝐨𝐧. 🫀

002: she fell in front of her sunbaenim 🤓

It wasn’t until a week later that you met the other actors and actresses in the film.

Your manager, Hongseok, had cleared pretty much your entire schedule so the rest of PRISM was out promoting while you were waiting awkwardly at the film studio, straightening out your white skirt and thinking of what to say to Sunghoon.

After all, you did kind of audition for Belift as a joke. You were really into Enhypen and Newjeans, so you sent in your singing and dancing tape thinking you weren’t going to get picked anyway. You did, though.

“Hi, sorry I’m late!” The all too familiar Australian accent pops out of nowhere, and your breathing is 10 times rapid knowing exactly who it belonged to. Pham Hanni from Newjeans.

“No worries!” You say, almost choking on the piece of bread you were taking a bite out of. “Greetings sunbaenim!”

You bow but Hanni shakes her head quickly, “ah.. no need. I read your profile, you’re a year older than me, so if anything, I should be the one saying the formalities.”

You don’t get to say anything else before the Park Sunghoon and Kim Gyuvin walk in.

Oh my God. You internally think. You almost have to hold back from fainting because how the hell are you in the presence of Hanni, Gyuvin, and Sunghoon at the same time?!

“This is our main cast,” the director says, who your manager has told you to refer to as Director Jung. “We have a few more idols but they’ll be in and out between episodes.”

The four of you nod, you suddenly feeling so small when in the same room as your talented sunbaenims.

“Today is just introduction and get to know each other day since I know this was probably brought up upon you guys suddenly and it can seem overwhelming and uncomfortable.” Director Jung smiles, showing off his bright white teeth.

“The drama is a romance one, kind of like an American coming to age except Korean, you know? It’s called Parallel Love. The main character, Baek Yunhee is played by Yoon Y/N as you all know.” He then points towards your direction, making the other 3 idols all turn their attention to you. “Yunhee’s love interest is Min Suho, played by Park Sunghoon. The reason I chose the two of you was because you were exactly how I pictured Yunhee and Suho visually and I feel like you would astound me and the viewers with your acting.”

Your eyes subtly peek at Sunghoon, who looks absolutely glorious despite his messy hair and tired eyes. The engene inside of you screamed, but you masked it by biting the inside of your cheek.

“Now, the main female antagonist is Choi Sanghee, which will be played by Pham Hanni. The main male antagonist is Park Wooseok, played by Kim Gyuvin. Sanghee and Wooseok are somewhat love interests, but they’re also Yunhee and Suho’s biggest rivals.”

The rest of Director Jung’s words went from one of your ear and out another as he kept speaking, your vision instead focused on Park Sunghoon.

“Alright, that’s all I have to say! Any questions?”

There’s a few murmurs but no one says anything, so Director Jung hands the four of you individual scripts that were so thick you could slap a person with it.

“It’s time to take the poster photos so let’s get to work guys. Don’t disappoint me.”

Way to not pressure an idol who’s life is already hectic, you think.

synopsis. you’re a newly debuted girl group under belift, and in order for your group to gain more popularity, your ceo offered you the lead role in a new romance kdrama. this all seems great, so what’s the problem? well, for starters, your co star is your senior, park sunghoon from enhypen, and he doesn’t seem too happy about being in a romance drama. especially when your fans have started to ship the two of you!

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[hayatheauthor]

How To Write And Create A Subplot

A subplot is an essential aspect of any book. It helps drive your story forward and hook your readers in with a compelling narrative. A good subplot raises the stakes for the main character by introducing side characters, creating plot twists, adding another dimension to the story or revealing information from the past or future. 

However, if executed incorrectly subplots can overshadow your main plot and deviate from the heart of your story. Unsure how to create and execute a subplot? Here are some helpful tips to get you started! 

Why Are Subplots Important? 

A subplot is a narrative thread that supports the elements of your main plot. They often build conflict or shed light on a secondary character’s story. Subplots help you create multilevel narrative arcs and build complexity and depth. 

Your readers certainly don’t need to know what your antagonists were doing while the protagonist underwent secluded training, but adding this subplot builds tension, heightens the stakes and easily portrays personality traits and character flaws. This is especially true for genres such as SFF or horror where your characters often don’t know their enemy’s plan until the last moment. 

Subplots are often what make your readers connect with your characters and world-building. To put it simply, if Harry Potter was written without any subplots Rowling could have wrapped up the entire series in one book. 

Types Of Subplots 

It’s important for authors to branch out and implement more than one subplot in their manuscript. Sticking to one subplot can often result in a poor portrayal of an important moment or make an interesting arc fall flat. A simple way to avoid this is by combining different subplots when working on your manuscript. 

Mirror Subplots

Mirror subplots are essentially a subplot that mirrors what your protagonist or antagonist is going through in order to illuminate their personality traits and how they dealt with said situation. A great example of a mirror subplot would be Sophie and Agatha’s dynamics during the first book of A School For Good and Evil. 

Sophie and Agatha both start off with essentially the same introduction to characters like Tedros, the faculty, their roommates, etc. but while Sophie uses a negative outlook to harm those around her Agatha focuses more on a problem-solving approach. 

Contrasting Subplot 

A contrasting subplot is when a smaller character faces the same situation as your protagonist/antagonist but handles the situation differently. For example, a protagonist allowed themselves to be injured in order to safely evacuate a nearby citizen but an antagonist in a similar position used the civilian to shield themselves from the attack. 

Contrasting subplots cannot exist unless both characters undergo the same situation, which is why it is important to plan this subplot out before executing it. 

Complicating Subplot 

Complicating subplots are the most common subplot used in literature. They’re pretty self-explanatory and involve a secondary character creating complications for the protagonist. This can be as simple as your love interest’s sister spreading gossip about the protagonist, or as complicated as a grand political scheme created to turn the protagonist’s allies against them. 

Romantic Subplot 

Romantic subplots are often confused with romance written as a subgenre. The difference between the two is simple—a book with romance as a subgenre simply includes romantic themes, however, a romantic subplot uses romance to deviate from the main plot. 

For example, if your protagonist left their usual environment to attend an event with your love interest for a couple of chapters, that counts as a romantic subplot. However, a character simply having a romantic moment does not constitute as a subplot. 

Things To Keep In Mind When Creating A Subplot 

Now that I’ve divulged all of the facts associated with writing a subplot, here are some personal tips writers should take into consideration when creating a subplot. 

A Subplot Is NOT Its Own Story 

This is an important factor many writers often forget when creating a subplot. Subplots are meant to tie into the main plot and move the story forward. They are supposed to be an arc in your story, not a story of their own. 

Subplots are a great way to foreshadow events, drop hints, reveal character traits, etc. however, you need to consider whether or not your manuscript needs to have these characters. Your deuteragonist’s tragic past with the antagonist might make for a good story, but you could probably summarise those events within one chapter. 

The same can be said for past love interests, ex-friends, training arcs and backstory arcs for minor characters. These factors would all propel your plot forward, however, incorrectly implementing them can ruin your reader’s immersion and deviate from the actual plot. 

If you’re unsure whether or not your subplot should be included in your novel, take the time to consider these few questions: 

Does your subplot help your protagonist accomplish their main goal? Or does it drastically deviate them from their initial purpose? 

Does this subplot introduce a new character, a new side to an old character, or the ‘true’ version of a seemingly good/bad character? 

Would your character be unable to attain their long-term goal without this subplot? 

Would your world-building, character development, or a certain aspect of the main plot feel confusing if not for this subplot? 

If your answer to these was yes, then you probably have a valid subplot on your hands. If not, then you should genuinely consider questions and take into account why you want to include this subplot, to begin with. If your answer is something along the lines of ‘it has so and so scene/dynamic which I really enjoyed or think the readers will like’ then your manuscript would probably do better without that subplot. 

Create Conclusive Arcs 

Unlike your main plot, subplots are supposed to have a start and finish. They need to have a complete arc and some semblance of a conclusion. 

For example, if you were writing a contrasting subplot where the side character decided to abandon another character in order to save themselves, you need to consider what happens once you write out this scene. How do the other characters react to it? Does this impact your side character’s position in the story? And most importantly, how does this impact the rest of your plot? 

You need to know where you’re going to go with your story once you have concluded your subplot, and figure out a way to tie your subplot into your main plot. 

I hope this blog on how to create and execute a sub plot will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday. 

[tyrantisterror]

While we’re on the subject of characters who “make you truly question makes one villainous”, what do you think of the take that villains, or at least ‘true’ villains, shouldn’t be sympathetic at all. That villains should simply be motivated by petty selfishness and cruelty. On one hand, that doesn’t sound like it makes for compelling stories, but on the other… most real-life villains really are motivated by nothing but greed and selfishness. And gain power by making people sympathize with them.

"Villain" is a word that has a lot of nuance to it that people in turn tend to overlook in favor of reducing it to "the guy it's ok to hate." "Antagonist" has the same problem, perhaps even worse, but that's another conversation.

Definitions don't help because more often than not they end up being intensely reductive of the broad scope of meanings the word has - again, another word with a similar problem in this regard is "monster," which can mean a bunch of a very different things that are all nonetheless recognizable by bearing some element of "monstrosity" to them.

So, like, one valid definition of villain is "an evil and unsympathetic character the audience is meant to hate." And I imagine if you gave that definition to most people, they'd agree - until you get to sympathetic characters who are still unmistakably villains. Like, would anyone say the word "villain" shouldn't include people like Doctor Octopus in Spider-Man II, or Mr. Freeze in Batman the Animated Series? Is Shakespeare's Macbeth excluded from the realm of villains because the play hinges on us finding ways to sympathize with him despite the horrific evil of his actions? Is Milton's Satan, perhaps the most iconic take on The Devil Himself, excluded from the conversation because Milton gave him pathos?

Villainy can be about the nature of your actions, and it can be about your relationship with society, and it can be about your choice of fashion and hobbies. It can be all of these things or none of them. Villainy is a form of being othered, one that has so many tropes attached to it and folded under it that the aesthetics of it can be divorced from the morality assigned to them easily. Villainy is so vast and complex a concept that a story can analyze it from a dozen different angels and still not capture the full scope of it.

Or, as one movie on the subject put it so succinctly:

It's about presentation.

As a writer and a reader of fiction, I love looking at time-tested tropes from a lot of different angles, and prying them apart to see how they work, and then seeing how far they can bend and twist until they break and become something else. I think locking yourself into one simple definition of what a villain can be is very limiting, creatively speaking, and think it's far more interesting to explore the concept from different angles. There's room for simple, pure evil bastards, sure, but there's also room for multifaceted evils, or characters will all the trappings of a villain but actions that ultimately speak to a nobility of spirit others have overlooked. The complexity of the trope is beautiful, why not explore it?

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 延禧攻略/Story of Yanxi Palace.

Story of Yanxi Palace is a high-budget 2018 Chinese harem drama about the historical-accuracy-adjacent antics of an extremely baller young woman who gets a job working in the Forbidden City in an attempt to discover the reasons behind her sister's death.

Imagine Nirvana in Fire, but only the scenes that take place inside the Inner Palace. So there's still schemes aplenty, but now these schemes are happening among a cast that's 90% women, all locked inside a walled city with rigid rules, excruciatingly strict hierarchies, and a very limited number of ways of getting out alive.

This show was huge in China. The English-language fandom is almost nonexistent. I'm betting most of you reading this have never even heard of it, and if you have, you have only the vaguest idea of what this 70-episode palace drama is about.

I enjoyed this show a whole hell of a lot. I also had some major issues with the show, to the point where I very nearly did not write this rec. But I'm doing it because I think the good parts of the show are worth seeing, and because I think the problem parts of the show are worth thinking about. Interested? Then follow me through these five reasons (and a few anti-reasons) I think you should watch it.

1. The Real Housewives of the Forbidden City

Tired of c-drama sausage fests? Want to see a bunch of incredibly talented ladies act their faces off? Then this is the show for you.

The vast majority of characters in the show are absolute bitches to one another. They are locked in a cutthroat game of power and manners where the stakes are literally life and death, so they spend their whole lives either plotting to take someone else down or counterplotting so the person trying to take them down gets taken down instead. They all know they can't trust one another, but they also sometimes can't not trust one another. They keep their friends close, and their enemies closer.

Unlike most other schemes-based shows, which are all about one big mystery, Story of Yanxi Palace has several smaller arcs. Remember the sister-murder I mentioned at the start? I was prepared for that to take the whole runtime of the show to solve; it actually gets (mostly) concluded around episode twenty-something. Antagonists arise and fall. Situations happen and resolve. Think of it less like a movie's single narrative, and more like a video game's multiple levels. Hooray, we finished Garden World! Now we get to go back to Palace World, but with way more EXP and powerups than we had before!

I know that looks like a bunch of lovely, high-class ladies in that shot, but it's not. It's a pit of vipers. Any woman in that lineup would straight-up shank pretty much any other woman in that lineup without hesitation or remorse. Every woman there knows exactly where she fits in the hierarchy and has a detailed plan for how to take out every woman above her to get to the top -- except for the one in black, who already did take out every woman above her to get to the top, and that's why everyone has to ostentatiously defer to her now.

If you are a fan of TV shows where folk scheme their way to success, this is really a can't-miss property for you.

This is also a show about how smart women have to become to survive being at the mercy of stupid men. Not only are the women being vicious to one another, they're doing so while simultaneousy having to pretend that they are pretty, delicate, vapid ornaments whose only thoughts are how they want the best for their precious emperor and his beloved mommy. It's all about the exercise of soft power, how to hide your knives behind silk sleeves and a sweet smile.

So okay, it's not quite as trashy as reality TV, but it's still bitchy as hell and incredibly fun to watch.

2. You love to hate her (and her, and him, and her)

Now if you've read pretty much any one of my previous recs, you know I like a good baddie, and this is a show with some good baddies. As I said in the last point, this is a show about bad people doing bad things entertainingly.

However, I am not going to tell you who most of the show's love-to-hate characters are, because the vast majority of them do not start out hateable. If the show introduces a female character and you like her, or a eunuch character and you like him, there is like an 85% chance they're going to do a heel turn. (And then sometimes do a face turn after? Look, schemes are complicated.)

But I will tell you about one bitch who's rotten from her first moment to her last: Noble Consort Gao.

Noble Consort Gao is the scenery-chewing, shit-stirring, absolute meanest mean girl in the palace, and it is so fucking entertaining. She's your major antagonist for the first half of the show. She's strategically mean, but she's also recreationally mean. She does the anime villainess laugh for real. Her actor, Tan Zhuo, has set her bitch dial to 11 and isn't even bothering to chew the scenery -- she's shredding it with those incredible metal claw-nails she wears.

Noble Consort Gao is a good starting antagonist because she's so blatantly evil -- and yet somehow still unstoppable. She's a good example of how you can get away with being pretty much openly sinister if you also manage to mind your manners. The reason she gets away with being so damn awful to everyone else is that she's still playing by all the rules. She's managed to weaponize every convention about propriety to lord her power over everyone else. She's like a fucking HOA.

And you'll notice I'm speaking about her with such fondness because she's delightfully awful. In fact, pretty much everyone in this show is delightfully awful. There are exceptions, but on the whole, you want to see them go down, yet you're also going to be a little sad when they go. Even Noble Consort, by the end, you get where she's coming from, and you feel a little bad for her on the way out.

Do you like vengeance? Because we've got some vengeance for you here. Many, many people in this show have been wronged, often by the people they trusted most. And of course they all respond to this in a healthy manner, seeking justice for themselves and for their loved ones through proper channels and reasonable means.

Ha ha, just kidding, everybody here is completely unhinged! The primary difference between a good guy and a bad guy in this show is how many innocent people they wind up taking down with the guilty party. It's messy as hell and we are making popcorn about it.

This is a show full of villains. In fact, this cast is pretty much entirely bad guys, semi-bad guys, potential bad guys, and good people who had to do bad things to survive. There are maybe two non-child characters who are Just Plain Good that don't get nuked almost immediately. Everyone else is some shade of grey. Even our hero (and we'll get to her in a minute) is pretty yikes-inducing cruel when she needs to be.

Going to say this as clearly as I can: This is not a show for people who cannot tolerate moral ambiguity. This is a show for people who love to watch clever bastards work. And pretty much nobody's more of a bastard than Noble Consort Gao.

Ladies and gentlemen, the cunt is served.

3. No, seriously, this is actually what it all looked like

If you are at all interested in this actual time period, you owe it to yourself to see this dedicated work of historical recreation.

The amount of research and detail that went into this production is honestly mind-blowing. Because this show is set in the 18th century, we actually have some pretty great documentation about the places, objects, and people involved in this story -- including some (slightly later, obviously) photographs! The production went all out in its attempts to replicate the setting, including using period-appropriate techniques to create various accessories and objects.

The outfits are amazing -- and excruciatingly accurate in several aspects. I've seen more than a couple people say that their first reaction to the costumes was, ho hum, kind of boring. Well, yeah, compared to some of the absolutely bugfuck-complicated wearable works of art from earlier periods, these are a little understated. But then you start paying attention to the million little details: the embroidery, the hair ornaments, the layers, the fabrics. A whole team of people clearly put a huge amount of work into these outfits.

Nearly every royal character in the show is a real person. You could spoil yourself for several major plot beats just by going to Wikipedia. In fact, I accidentally did this, because I was reading the show's DramaWiki page and thought, oh, that's interesting; I understand why the actor names are links (because it takes you to the actors' pages), but why are so many of the character names also links? Turns out: Wikipedia! So, uh, careful where you click.

One of the great things about the show is how utterly claustrophobic it is. Most of it takes place within the heavily guarded walls of the Forbidden Palace; on the very few occasion it goes somewhere else, you're just traveling to other walled manors and villas. There's one brief scene in a forest, and the psychological difference is enormous. You see a few trees and you're immediately like, oh, so that's why these women are going crazy in their gilded cages.

The drama even shows how some of the least glamorous parts of the Forbidden Palace work: the chamber pots, the coal for furnaces, the mopping, the weeding, the laundry, the fire brigades. It's an enormous production, keeping what is basically a 178-acre city-state running to imperial standards. It's nice to see a drama that acknowledges that while rich people may want to see only clean walkways and fresh sheets, those things don't happen by magic.

If anything, knowing about all this detailed research makes the unintentionally funniest scene in the entire show -- the one with the eunuchs playing Western instruments -- ten times funnier. You had artisans spending months doing exact recreations of historical hairpins, and you couldn't spend thirty seconds asking the internet "when were saxophones invented?" or "does an accordion make noises like a string quartet?" Perfect. No notes.

Trust me when I say you'll get used to the queue haircuts on the dudes. It helps that most of the time, they're facing the camera so they just look like they've got their heads fully shaved, and most of them have heads that look very good shaved! ...Most.

4. The kind of girl who'd make Mei Changsu say damn

The show has a strong ensemble cast, but the woman at the core of all the action is the tough-as-nails protagonist, Wei Yingluo.

The details we have on the actual Lady Wei are sparse. She doesn't really exist as a person in the historical record, to the point where we don't even know her given name (if she even had one) or when she showed up to the palace. We mostly know when she got given her titles, how many kids she gave birth to, some of what she did later in life, and when she died. The show takes these historical gaps and just runs with them, weaving into the silences a narrative that, while implausible, could have happened!

The show starts when Wei Yingluo enters the Forbidden City, not as a royal lady concubine, but as a regular little maid. She's got an agenda, though -- as mentioned earlier, her sister has died tragically, and she wants to figure out why. The stakes get higher as it becomes clear just how much people don't want this question answered, for their sakes as much as for hers.

She very quickly realizes that she can't just live a quiet life and snoop around casually. Too many people are out to get her, and if she's going to survive, she's got to fuck with them before they fuck with her. And they are wholly unprepared for the self-destructive lengths to which she will go to to fuck with them.

Wu Jinyan deserves all the accolades for turning in a great performance. She has to be completely all over the board emotionally and energy-wise for seventy whole episodes, and she brings it. She's very funny and physical when the show calls for her to be! She's willing to flail around and stuff her face and ugly-cry. Then she turns on the don't-mess-with-me stare and the temperature in the room drops ten degrees. Did she get some award for this? [checks her DramaWiki page] Okay, she got several awards for this, good. Even in a huge cast this talented, she's an absolute standout. I can't wait to see her in the Double, which is definitely on my to-watch list.

I'm not going to call Wei Yingluo a Mary Sue, because that's not accurate, but this girl does have some serious plot armor on. You never get the sense that she hasn't earned it, though. She's smart, capable, and more than a little completely fucking crazy. The show makes you believe that the reason she survives most of the shit she pulls off is that everyone is just so baffled that anyone would try it at all that they don't even know how to respond.

I thought about starting out this rec post with Wei Yingluo -- putting her above the cut, in fact, because she really is that compelling. She's back here, though, because it's with Wei Yingluo that we start to slide into my points of critique. Too often, female protagonists are here to solve the problem with their cuteness and quirkiness and extra-special perfectness that shows up all the other girls and captures the heart of whatever boy she needs to save the day. And no matter how this show starts off wanting to make her something different, it ultimately can't conceive of a female lead who isn't at her core just like that.

The writers can never decide how much Wei Yingluo's Manic Pixie Dream Girl act is an act, and how much she means it. The show introduces her as a stone-cold psychopath who is capable of feigning being a carefree brainless uwu smol bean. Later it decides, actually, she's really at her core a spunky, soft-hearted creature who likes to goof off and is just capable of switching on Scheming Bitch Mode when she needs it! And it's like, are you kidding? You just spent like forty episodes telling me that it's all a big trick when she does this, and now you're saying it's not anymore?

It's like they made a character capable of decieving men, and then got decieved by her, which you have to respect. Any fictional character can fool another fictional character; only true legends fool their creators.

sidebar: fuck that dude

The show can never fully commit to this bit, because he's supposed to be our big heroic love interest, but the emperor fucking sucks.

Hands-down the show's biggest moral is that All Emperors Are Bastards -- yes, even the ones in relationships we're supposed to find cute; yes, even the ones whose lifestyles we're supposed to envy; yes, even the ones played superbly by the devastatingly handsome Nie Yuan. While watching we repeatedly invoked this tweet:

Being a billionaire must be insane. You can buy new teeth, new skin. All your chairs cost 20,000 dollars and weigh 2,000 pounds. Your life is just a series of your own preferences. In terms of cognitive impairment it's probably like being kicked in the head by a horse every day

He is the dumbest, most easily played motherfucker in China. Getting horny makes him stupid, and he's horny all the time. He has absolute power over the lives of everyone in the empire, and you can distract him with the mere suggestion of a vagina. He has taken a full You Girls Fight It Out Amongst Yourselves stance toward his scheming harem. This will not go well for anyone.

And speaking of those wives, no matter how many times they loudly profess their undying devotion to him, I have a rough time imagining these women feel anything for the Emperor beyond exhausted contempt. Well, okay, maybe the Empress who married him before he took the throne, since she had a chance to get to know him before he was in full Emperor Mode. But none of the other women should ever stop dunking on this guy like the gullible shitbag he is. If you (like me!) are already skeptical about any given heterosexual romance in fiction, be prepared to roll your eyes through the Big True Love Story this one tries to sell you.

5. Right on the cusp of a fascinating feminist conclusion!

I may be on this one for a while; skip ahead if you like.

Okay, so: What little English-language buzz I've seen about this show has used the word "feminist" about it -- mostly in conjunction with how the show's popularity made the CCP sour on its failure to portray appropriate communist values (???). So I went into it expecting feminism! And I got a show with a whole bunch of female characters in it! And hoo boy, are those two things not necessarily the same!

This show is a great example of how merely passing the Bechdel-Wallace Test doesn't make something feminist. Sure, it's mostly about a single woman who, through her plucky nature, rises in the ranks of power. But that is feminist only by the shallowest, most girlboss, Lean-In-ass definition of the word.

At the beginning, you can kinda tell this was written, produced, and directed by men. By the time you get to the end, you can absolutely tell that the production team was dudes from top to bottom. This, to me, is the big tell: that the show cannot conceive that anything these women are doing could be interesting unless it's trying to stab another woman in the back. There is a time jump very near the end, where the few female characters still standing agree to stop being shitty to one another -- and then fast-forward a decade, because why would we care about seeing what their lives are like when they're not being shitty to one another?

The show is incredibly constrained by Actual History. At the end of the day, it's a Cinderella story, and as such, we have to cheer for the social and legal mechanisms that make it possible -- even when they're grotesquely misogynistic. The show lets its female characters pay lip service to how awful it is that women are little more than breeding stock, but it doesn't let them do anything about it. Mothers can be obliquely sad that their daughters are being fed to the same patriarchy machine that fucked them up, but talking is the most they can accomplish ... because those daughters were real people who were actually fed into the patriarchy machine. We know this. We have documentation. China is very good at keeping receipts.

Wei Yingluo starts out as a servant, and throughout the first half of the show, she moves up and down in the servant ranks -- and all the while it makes the point that being a servant fucking sucks. Maybe it's better when you get to work directly under someone you really like, but the actual job sucks shit and puts you at the mercy of everyone above you in the palace hierarchy. Your life is not your own. You're barely a person. You can easily get executed for merely working in the same household as someone who broke the rules.

The feminist answer to this dilemma is to notice that the system is bad and either a) refuse to participate in it, or b) use your power to mitigate its badness. The show, however, clearly thinks that the real problem with this whole setup is that the people we like aren't at the top of it. Somebody has to take the abuse; you just don't want that somebody to be you. Once Wei Yingluo gets to a place of real power in the palace hierarchy, she starts behaving very much like the people who used to be shitty to her and takes no steps to prevent the early-show damage she suffered from happening to other people.

Now: You can make the argument that if she'd done all those radical things, she would've been dead meat -- and I think you'd be correct! But the show never indicates that it gives a second thought to how abusive and unfair this all is. Survival in this system means exploiting the people below you. There's not a neutral option. And this show expects you to cheer for exploiting the "right" people.

The show never quite seems to internalize what the stakes are -- at least, not for more than a moment or two at a time. I made the Real Housewives joke because the show more or less treats the consort-on-consort schemes as fun catfights by mean girls wanting to be the prom queen. It almost gets to the point of realizing that a woman's place in the harem is literal life-and-death shit for her, and that if she can't produce a son and work him into a powerful position, she's fucked. It always bunts when it gets there, though, choosing to play up vanity and petty grievances instead of the absolute desperation these women must be feeling.

It gets so close with Consort Shun to a real discussion about how awful it is that the men in their lives see them as pretty objects to be bartered for favor and power with other men. But it can't fully go there, because that would undermine the structures propping up this Cinderella story, and then we couldn't feel good about the Cinderella story. And we want to feel good about the Cinderella story. We will burn every other female character in the show if we get to feel good about the Cinderella story.

I've made a lot of jokes about lesbians in this show, but the truth is, it is chronically deficient in lesbianism. Lesbian sex would have improved the lives of at least half the characters here, if not more. Unlike a lot of other historical c-drama shows, Yanxi Palace acknowledges the reality and possibility both male and female same-sex sexual desire -- but it does so in order to say that both are bad. (I legitimately cannot tell if the production is doing this to show how regrettably anti-gay the past was or to play on the audience's expected homophobic disgust. I suspect the latter, but I genuinely don't know.) While it does the fascinating thing of showing desire and coupled relationships between women and eunuchs, it has no idea how queer those setups are, nor does it acknowledge the possibility for same-sex pairings to fill that same positive dynamic.

So why on earth would I list this whole mess of problematic attitudes as a reason for, and not against, watching the show?

Because it is fascinating to think about. Look, I've burned a lot of time and brainpower here writing several paragraphs that no one is ever going to read about how interesting the show's moves are. It has the weird problem where it understands what happens when you lock a bunch of women together in a high-pressure situation keyed to a brutal hierarchy -- but it doesn't ever appear to quite get why. At least, not beyond the sense that people will claw their way to the top of any hierarchy they have access to, just because it's there. (Watch how it treats the few exceptions to this, the rare nonambitious characters. See how long they stay nonambitious.)

As I said when I labeled this point, the show is just on the edge of a smart conclusion, and that smart conclusion has to do with how awful it is that women are both the people who suffer most under heteropatriarchy and the people who work the hardest to uphold it.

Yes, the world into which these women have been thrust is awful. But they make it ten times more awful because they're all semi-voluntarily engaged in a vicious, Highlander-esque zero-sum competition. They could cut one another some slack, but they're more invested in continuing the cycle of abuse to maintain an intense, repressive order. The ones that try to be kind about it get repeatedly fucked by the ones who have no interest in kindness. They all have to engage in performative rituals that mimic sincerity without actually producing a single genuine emotion toward one another. It's horrifying and paranoia-inducing in the extreme. And they're doing most of it to themselves.

If it were really feminist, the moral of the Story of Yanxi Palace would be it does't have to be like this. This dynamic is not inevitable; this is a choice perpetuated by generations of people who benefit from it just enough not to question its correctness.

Sadly, there's still enough promise in patriarchy that being a Good Girl will save you from the shit we put the Bad Girls through -- so don't you want to be a Good Girl? All we need you to do is throw all those icky Bad Girls under the bus. It's their fault for being Bad Girls anyway. But you? You don't have to be afraid. We're not going to hurt you. You deserve all the good things we're giving you. You're not like all the other girls. You're different. You're special.

Just don't forget to watch your back.

If anything, I think the CCP is terribly wrong: This show is an excellent demonstration of communist values, in that if these women had just joined together in solidarity, all their lives would have been so much better! The Emperor should have been posting helplessly on Reddit like "My (55M) consorts (40F, 36F, 31F, 28F, 22F, 19F) have unionized" so the entire internet could come for his ass.

Care to watch?

This is another of those shows you can find in a whole bunch of places! Here's the ones I know about:

YouTube

TVBAnywhere

Viki

Tubi

iQiyi

I know seventy episodes is a commitment. I know eighteenth-century palace drama is a lot. I know that last selling point of mine seemed to go on for-fucking-ever and you probably didn't read any of it. But this show is a beautiful work that I think more people should see, warts and all. Besides, if all we ever consume is ideologically "pure" media, how do we learn to think critically about anything?

True story: My Chinese colleague, knowing I was watching this show, taught me slang for "lesbian." It's 拉拉 (lala). Very useful.

[trekkele]

Patriach!!!!!! I love that fic it's so good and it really made me think about Bruce's relationship with Leslie

*spoilers*

So many Fics have Bruce not liking going to Leslie and I never really thought about it because that's how it's always been

But when Dick starts to point out that Bruce would rather bleed in an alleyway then face one of her lectures and I just sat there

Because kids really want to be accepted!!! And hearing only criticisms all the way well into adulthood will 100% destroy your mental health, and when you think about how much effort and sacrifices Bruce probably had to make to train under the best of the best, only for Leslie (who had an impact on him growing up but also was his dad coworker/friend) to dismiss all of it and tell him that violence is not the answer*.... It must of hurt

(*which is bull, we've been spilling blood for every freedom for as long as we've been around, open a history book Leslie)

I said this once (I think in dms with @wanderintofics) but I think it's very funny how Alfred has been cast into this overbearing mother role and Leslie has been cast as the distant and disappointed father role. Because where Alfred will relentlessly criticize Bruce, and withold care or affection if he feels Bruce doesn't deserve it, he will also always, always come back to Bruces side. It's a whole thing! Meanwhile Leslie will never whithold care, she's a doctor, she's a good doctor, but she will absolutely side with those criticizing Bruce whenever possible.

I think the fact that Leslie has been criticizing him this way since he's a kid influences it the most. Because hearing that your choices are a disappointment and your dead parents would be ashamed of you is. Not great!! Ever!! And since Alfred is literally an employee of the estate, Leslie is technically the only person in his life who gets nothing from him and isn't interested in pleasing or pacifying him. Alfred's criticism would hurt, of course, but there's also a level of "he's meant to be raising me into the perfect heir". Leslie has no such responsibilities, and that means her criticism is entirely personal.

There are two ways to write Leslie, and one is Watsonian (she represents an in universe belief) and the other is Doylest (she represents Batman critics in our universe). And my problem with her as a Doylest criticism is you cannot apply our universe rules to a universe with superheroes. The entire argument against capes falls apart with the first alien invasion. More then that, it simply isn't an interesting critique of the genre, because it inevitably falls into doomerisms and nihilism and I am supremely uninterested of that view of the world.

The Watsonian critique is slightly more interesting, because it at least has Leslie (reasonably!) acknowledge that she lives in a universe where superheros do exist, she is just personally against them. And my issue there is that Leslie is a militant pacifist, which boils down to "she believes you should also die for her beliefs". And. No.

She also believes that all violence is equal, when it clearly isn't and has never been, and insisting that it be treated as if it is is disingenuous and unhelpful. Its how we get people in prison for killing their abusers even in the most clear cut of cases. I disagree with her philosophy in the real world, and not even in a way that means I can agree in the fictional world, if that makes sense.

Leslie is a great character and I think she's very interesting even when I disagree with everything she's saying. I wish she had more screentime as n antagonist. Steph, for one, should not trust her ever again.

[brw]

What is it about magneto that puts you off?

Magneto as himself as a character is really interesting. There's something there for sure about grief and trauma effecting you so heavily, and all the things you do to make sure it never happens again really just end up hurting the very people you want to help, because you're so blinded by your own pain and suffering. A lot there about cycles of trauma, of the ways the people we love who hurt us often have had very difficult lives that made them the way they are, but at the same time you at some point have to do what is right for you and stop making excuses, etc.

The problem is that Magneto has attracted a strong fanbase of people who constantly say "Magneto is right", as if Magneto has ever had consistent politics beyond "Mutants come first", and rewrite history to make his relationship with his children more ""wholesome"" or palatable, when in reality he is not any better than Charles is when it comes to traumatising and mistreating his kids. And this would mostly be fine to ignore, if it didn't start seeping into Marvel canon and the way writers now depict him and his children.

Wanda would not call Magneto daddy! She has been very clear in the past that she considers her true father to be Django Maximoff, the man who raised her, and I do not care for Magneto quietly replacing that in Orlando Scarlet Witch. He is a bad person to Pietro especially, which still remains in canon still at least, but it's mostly vague, without the context of why. Magneto literally killed Pietro in a fit of rage. Their relationship is, and always will be, an antagonistic one, and I do not understand why fans want to rewrite this dynamic to a much blander, easily digestible wholesome dynamic. His relationship with Lorna is slightly more stable in my experience (mind you, this is definitely my weakest point of Magneto and kid's dynamic, so I could be wrong) with him being more willing to acknowledge his wrongdoings, but he still often can be controlling and very quick to anger with her the way he is with the twins.

Magneto is not right, and he is more interesting to me when he is wrong. I honestly do not see the value in recontextualising his original LeeKirby actions as "The humans NEEDED a monster to fight", when like, no, he straight up was trying to murder some teenagers! He was a villain and while I don't think he should return to that kind of villainy, it is extremely important to the makeup of who Magneto is, and especially his redemption arc and his relationship with the twins, and the ways they struggled to accept him in their lives when he was on his redemption arc.

I like Magneto. I do not care for his fanbase, and I don't care for the increasing prevalence of those fans maturing into comics and rewriting history to make him less divisive and complex to make him a straight up hero.

[onlycosmere]

Least Favorite Novel of the Cosmere 

GodsShoeShine23 :  I'd say Alloy of Law. I just honestly didn't really care about Wax and Wayne until they were more fleshed out in Shadows of Self and Bands of Mourning. For Once, Brandon kind of just threw us right into the action from the get-go, but did so in a way where I had no real motivation to root for the main characters of the book other than them being the main characters of the book.

Brandon Sanderson: I wonder sometimes if I should do a full-on rewrite of Alloy. It would also be my vote for weakest Cosmere novel. (I think it's probably my weakest novel overall.) The big problem came from it being a short story, that became a novella, that became a fun little novel not meant to do any heavy lifting. But the series went from there to get some of my strongest books, as I fell in love with world and characters, and became a full-blown era rather than a pit stop between tow large eras.

So you have something weaker, meant as a kind of "Secret History" novella, to a load-bearing pillar of the Mistborn series. And it's the place where already (coming off the main trilogy) where people were the most likely to abandon Mistborn as a larger mega-series. So I have my weakest cosmere book in a pivotal place in the sequence.

The solution could be to just take it and give it a ground-up rewrite with more depth of characterization and narrative rigor. But then, we have the problem of their being two significantly different versions of a book, which causes other logistical problems.

GodsShoeShine23: I find it hilarious that the one time I’m not praising your novels, you end up stumbling upon my comment, lol.

In all seriousness, I thought Alloy of Law was still a pretty fun read. I like the expansion on the magic system that was built up in Era 1, and Wayne honestly ends up being one of my all time favorite characters in the cosmere. I always thought to myself that Alloy of Law read like a novella, so it’s actually interesting to see that it was originally based on a short story idea essentially.

I will say this though; I expected to see most people vote Elantris as the weakest book as seen in the comments, but I honestly found it to be much more entertaining than people lead me to believe. Hrathen may be my favorite antagonist you’ve written, and I’m wondering if more will be revealed about his charcater in the sequels.

[miraculouslbcnreactions]

So if Adrien were to get an antagonist like Marinette and Chloé (or Alya and Lila in your case), who would you pick?

For me, I would personally pick Félix since he and Adrien had some personal connection as family and it did felt like there was some potential for a possible rivalry between the two in his debut episode (before the writers screwed Félix’s character by a lot).

(Post that spawned this ask)

It really depends on what format I'm being forced into. Félix is like Lila: great in serialized content, terrible choice for episodic content.

If we're allowed to go the serialized route and have plots run for multiple episodes, then Félix could be a great rival. You'd need to do something to rework his character, though, because right now his motivations are really confusing. If we go with the senti stuff, then there's not much to base the rivalry on or even many plots you could do. Let's quickly pitch an alternate Félix to show you what I mean.

Félix and Adrien are the same age and we know that Emilie was the older twin, so maybe the boy's maternal grandparents are still alive and have yet to decide who to pass their fortune and titles on to: the traditional bloodline heir (Adrien) or the kid of the daughter who stuck around and followed tradition (Félix). This could be an interesting path if we give Félix all the same interests as Adrien. If they're constantly competing to be better and Félix is constantly sabotaging Adrien at big events.

For the sabotage to be clever, it would need to be set up in more than 20 minutes, otherwise Félix would just feel petty and opportunistic, which is the problem with Emotion. Félix just shows up and seems to go crazy because truly setting up his invasion of the Diamond Dance would have required him to have screen time across several episodes. That screen time could have been minor, but it was still needed. Maybe Ladybug and Chat Noir keep looking for Félix as a subplot, leading us to have multiple episodes end with a quick look at where Félix is and what he's doing.

While we're on the topic of canon changes, compare the family rivalry setup to canon and you hopefully see what I mean by lack of a motivation or even ways to show the rivalry off. What opportunities does canon Félix have to show how much better he is? He and Adrien seemingly have nothing in common apart from their looks, making it somewhat difficult to compare them. You need those common interests or big showoff moments for a rivalry to work. You also need to feel like Adrien is better than Félix and canon didn't do that. Félix is smarter and more of a go-getter than passive, gullible, naïve Adrien. Every encounter between the boys sees Félix win.

There's also not much to support a read that Adrien gets more love or attention. Amelie is doting. Gabriel and Nathalie are cold and distant. So why does canon Felix delight in tormenting Adrien? What is Felix's goal with things like trying to assault Ladybug or telling Adrien's friends that Adrien hates them? Even the season four final is really weird. Felix already snuck into Adrien's room. Why did he need to officially switch places with Adrien? Just dress up as Adrien, commit your theft, and go home, dude. That's way less complicated than agreeing to leave the country as your cousin. (So much of the season four final is written around forcing Ladybug to lose that it's actually kinda funny. So many things make no sense.)

When figuring out how to rework Félix, you also want to keep in mind what motivations are driving Marinette's antagonists. You don't want Félix to feel like a Lila or Chloe clone. You want him to bring diversity to the table. His motivations should be unique to him and his relationship to Adrien.

If we have to stick to the episodic format where character motivations and plots can be explained and resolved within 20 minutes, then I would not use Felix. Instead, I'd have some fun with how oblivious Adrien is and give him a bunch of "rivals" for Chloe's attention. To match our theme of diversity, while Marinette and her antagonists never get along, Adrien could have a string of rivals with each one ending the episode either no longer interested in Chloe because they realize she's a brat or still interested, but no longer hating Adrien because they realize he's a total non-threat. Less interesting than the Félix stuff, but potentially a funny running gag no matter which way you play it.

[mdhwrites]

Do you think Boscha was treated unfairly in the context of the show? I know you've said before what you would have wanted her characterization to be, but what do you think of her character as we have it in TOH - and do you think fan and narrative treatment lines up with this?

I'm going to ignore the fan element. Fandom is going to fandom after all. However, I can easily say where her narrative treatment went wrong in the show!

She should not have been in S3.

This is always a fun topic to me essentially because I am pro-Boscha. You ask me what her character is, the potential of it, etc. like that and I can give you reams of thoughts. However, I also said, before S2 came out and I was working on a fanfic where Boscha was quickly becoming the main character, that I didn't think Boscha should show up again. The reason is pretty simple too. TOH already had a lot of threads to pull and Boscha's narrative use was over. Honestly, Hexside was essentially was used up by then.

Boscha is a minor supporting character to the main character's love interest. Not a major supporting character, a minor one. Amity's family is MUCH more important to her character than her one bitchy friend. The only use Boscha had narratively was to both contrast how Amity was changing and to also allow Amity an antagonist to overcome as she made her way to being on the side of good. Her being a one note bully is perfect for that and exactly how she should have been written. Winging it Like Witches capitalizes on this and fulfills both of her purposes and Amity cuts Boscha out of her life so... Why are we still seeing her? She is no longer even a supporting cast member to the love interest, she is just a floating character in the background.

And in S2, we get a fine answer for that. She's essentially one of the townsfolk of Wartwood in Amphibia. Someone who can show up for a quick gag but doesn't take up too much time. We're not trying to progress her character, we're just taking advantage of the fact that she's not gone. She's a gag but it's genuinely rooted in her character unlike the one joke that King or Hooty have that we're just supposed to mock. This worked. Period.

Then S3 tries to give her an arc. Why? Well... Because it doesn't want to be a kid's show. Kid's shows after all, like Amphibia, have characters who don't have some deep backstory or brooding complexity, they're just... Fun. They're nice. They aren't complicated. Boscha, WAY too late, was made to be complicated during a shortened season so the show could claim it had one more redemption? So it could claim its shallow bully character wasn't shallow? And she takes up a good amount of time in this episode for this when you have THREE SPECIALS. The stress of the world ending isn't enough to cause Willow to lose control, she needs one more push from Boscha. We finally have to acknowledge that what Amity did was a complete dick move to her best friend and then not actually acknowledge it because Amity gets to just be morally superior instead of a decent human being to this girl having a mental breakdown. It's awkward, clunky and does NO favors to Boscha besides just kind of making her look pathetic, which is a pretty common trick in TOH for trying to redeem someone. Boscha isn't so bad because she's actually a loser and not as bad as someone else in her nearby vicinity.

Why? Why do this? Why do this TWO SEASONS after Boscha was no longer narratively useful? It is just pointless to your overall story so it should have been cut. THAT is Boscha's biggest problem in the show and if anyone told me they couldn't forgive her for adding filler to S3, I couldn't tell them they're wrong.

I love Boscha. That means I know when to let her go, something the show should have learned if they actually cared about her. See you next tale.

======+++++======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[writingquestionsanswered]

Finding Details to Go with a Basic Plot

Anonymous asked: Do you have any posts or new tips on creating the "fill" in stories?

I want to start here, because it's super important that we don't think of anything in stories as "fill" or "filler" because that implies it's "empty calories" there to take up unfilled space, and we never want to do that in stories. In stories, every scene--every event and moment--needs to be in service of the plot, characters, or world.

For example, I get an idea for a novel, like forbidden romance. My problem lies in figuring out other details, specifically in figuring out what would work for the plot (and what doesn't really matter). What would their jobs be? How can they meet? What interests/hobbies do they have? If someone has trauma, what was the traumatic event? My brain automatically looks for the links between everything, so it's hard to find a point of attack. I feel like everything has to interconnect to make sense - things can't be random or "because I say so." So when I have more of a plot idea rather than story, what approaches do you recommend?

If you have a general plot idea (like forbidden love) but you don't know how to flesh it out, it's probably because you haven't yet mastered an understanding of how stories generally work.

Stories are either character-driven, plot-driven, or a combination of both. Character-driven stories center around internal conflict, meaning a conflict within the protagonist's heart and mind. Plot-driven stories center around external conflict, meaning a problem in the protagonist's world. Stories that are both character-driven and plot-driven are centered around an external conflict while also exploring the protagonist's internal conflict. (And often that of the other main characters.) Plot Driven vs Character Driven Stories

Your protagonist's goal is always to resolve the conflict. In a character-driven story, that may not always be straightforward. Sometimes characters don't really understand their internal problem and so they sort of fumble their way through potential solutions as they try to fix whatever isn't quite right in them. In a plot-driven story, the resolution of the problem (the goal) is usually straight forward... take the ring to Mordor, survive the Hunger Games, pull off a heist to steal back the stolen art piece. Your character's pursuit of the goal, and the overcoming of obstacles placed in their path by the antagonistic force, is what makes up the action of the story. Then they finally face off against the antagonistic force in the climax, solving the problem once and for all. Understanding Goals and Conflict, How to Move a Story Forward, Basic Story Structure.

Here are some other posts that should help:

Guide: Filling in the Story Between Known Events Guide: How to Outline a Plot Beginning a New Story Finding a Story in Characters and Setting Finding a Plot to Go with Characters/Setting Turning a Barrage of Ideas into a Plot How to Turn Ideas into a Story

I hope that helps you start to pull your story into focus!

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[greenerteacups]

also just read your favorite weasley post and !! love that Ron is your favorite he gets so much bashing in dramione works im like grrggr he’s not so horrible omg! he has his shortcomings but if you’re literally diving deep into draco as a character who in canon is overtly an ass then why are we destroying Ron’s character to justify the dramione relationship TT poor story building imo, but to each their own!

love your work, excited for what’s to come!!

I think Ron would've had better reception in the D/H fandom if — I mean, for one, if he wasn't a major obstacle to their ship going canon, which is like, not his fault, but also means he's never gonna be the most popular dude on the block — but also if the later books hadn't done him a bit dirty. Without even getting into how their characters change, Hermione becomes a lot more likable in later books when her enduring flaws of bossiness, paranoia, and know-it-all-ing become incredibly useful and appropriate in a literal war. Ron, in contrast, starts as an almost idealized "hero's best friend" archetype, friendly and witty and loyal, and then gets his flaws uncovered slowly. Whereas Hermione wears her faults on her sleeve from day one, Ron's self-esteem issues and empathy problems emerge realistically over time as the plot brings them to the fore. But because JKR doesn't conclude emotional arcs, he doesn't get an actual moment to overcome those flaws and triumph, restoring audience faith and making himself more likable by having overcome struggle.

Draco canonically exists to be a bully and antagonist. The stories are not terribly interested in him beyond that role. But there's something honest about that, since the reader never feels like the text expects you to like him. Draco is awful and owns it. He's narcissistic, cruel, and mean from the first interaction, so he has nowhere to go but up. If you like him, you like him because (probably) you're interested in where he could go in the future or in alternate universes, and how he could overcome his faults (making him extremely likable, because we love characters who struggle and win). He's not a three-dimensional character so much as he is the possibility of a three-dimensional character, and all that potential is really easy to like. Meanwhile, Ron is a three-dimensional character, full-stop. He fucks up sometimes, but in general, the text wants you to like him — problem being, the text doesn't always know how to make that happen, and sometimes it fails. Which can be doubly annoying, because then you feel like you're watching a character getting rewarded for bad behavior.

Now, me? I'm a consistent bitch. Blond or ginger, I'm equal-opportunity: give me a witty asshole with empathy problems and a fanatical devotion to the people they love, I'm locked in. I like Ron and Draco for a lot of the same reasons. I think they're very similar in a lot of ways that get overlooked. And if you ship Draco/Hermione, that should be great news, because you might suppose Hermione has a type.