#more than two people in one scene? i hate it

[mossterunderthebed]

oho. ohohoho. now to make it goyuu... i need a knight au

ooh what if they're from different kingdoms. and yuuji is the king's only remaining relative so he is unfortunately the Heir. and was dragged to the palace after his uncle found where his father had taken his grandson away from the palace to live out his days in ignominity because he was once a great general but his son sukuna who was greater even than him instigated a violent takeover and disposed of half the previous nobility

and hes a tyrant but a lot of the commoners love him because to be fair his actual policies arent too bad just bloody as fork and super strict and hes big into conquest which hey makes money and brings their country glory so it works.

enter gojo.

emperor of neighboring empire thats not technically much bigger in terms of land mass but has way more people (this has advantages and disadvantages). and yuuji has risen to the rank of general and is known as the tiger of the west which he thinks is embarrassing. and he hates that that's what the people know about him and what they like about him because he wants to be a good ruler. but he doesnt know how only he doesnt think it should be like sukuna rules

and then gojo who ofc would lead his own armies so he and yuuji end up clashing in an unexpected place. and gojo uses guerilla/ambush tactics they werent expecting bc they thought they had the advantage of numbers and yuuji is captured.

and he expects to be tortured and stuff but this gojo guy is actually... really nice? and insanely smart? and really funny too? and pretty handsome too wow ok. and then they kind of end up becoming friends?? and yuuji confides that he doesnt know how to rule well but he really admires gojo whos so smart and has gathered such good people to him (unlike many people who have critisised him as being honourless because of his tactics but its because he and yuuji both understand the value of a life as opposed to expectations of 'character' which is actually just a load of crap the nobles to make themselves sound/look good)

and yea i dont know things snowball and in the end they have a long-lasting long distance love affair until gojo's heir (yuuta) comes of age. bc surprise surprise gojo never wanted to rule esp not after the betrayal of his closest advisor and best friend in his youth. and finally he goes to live w yuuji who disposed of his own uncle in a very moving morally heart-clenching scene

and they live happily ever after and travel back and forth a lot and every time gojo visits his home he acts outrageously but hes still always just as intimidating as ever and even in his late forties h makes a soldier who spoke out of turn piss himself in a public spar.

and he and yuuji are insufferably chaotic and loving until they die and are buried side by side on the land yuuji rehabilitated (his childhood home w his grandfather that was wrecked by sukuna) and they plant little yellow and blue wildflowers over the graves and years in the future the two crossbreed and spawn a lovely little new breed of flower that symbolizes the powerful kind of love that would wait for years and years. a patient kind of love.

and centuries later records are found of them and the graves are unearthed and little artifacts are found and their letters and etc etc etc and their love story becomes known as one of the greatest of all time and stories and plays and poetry are written about it and their letters are translated and published and are turned into a saying 'i would write you a thousand letters' which basically means 'i would love you with dedication through great obstacles and hardship' or more simply, 'i will love you even when its hard.'

and yeap thats the that.

Bonus: at the very very very end theres a little cutscene of their reincarnations meeting for the first time after accidentally bumping into each other and gojo drops something so yuuji kneels and offers it to him and for a second they both get mad deja vu and just stop and stare at each other like they're the most beaufiful thing the other has seen and for that moment rest of the world doesnt exist

*holds back tears* and then they fall in love and get married and adopt some cats and maybe a kid and live in a cozy apartment and stay together for a whole 'nother lifetime and retire to the Sendai countryside and tend to a garden full of Their Flowers which they find out on the second date are both of their favorites for a reason neither of them can quite describe and ughhhhhhhhhhhh

sorry i got emotional. ok bye.

horniest battle moments:

- taking your ally's weapon out of their scabard to use yourself

- using someone else's shoulder as a rifle stand

- nudging someone's chin up with the tip of your weapon

- freezing with your blades against one another's throats, breathing into each other's mouths

[yutarot]

dorm dare diaries. l.mk smau

୧ ‧₊˚ ⋅. enemies2lovers, humour, college au, romance, dorm life, drama, prank wars.

synopsis. living in dorm 117 means two things: you get to live with your two best friends, and you get to live directly opposite dorm 119. the latter fact would be totally irrelevant to you if it wasn’t for the fact that the people occupying dorm 119 are the most insufferable people you have ever met. mark lee and his annoying, troublesome friends. so when the boys’ dorm push your dorms patience a little too far, you decide to get your own back. but what happens when one small prank evolves into a full fledged dorm prank war between both of your dorms. and what happens when the pranks end up becoming far more serious than you ever would have imagined? even to the point where you find yourself in danger, and the only person who can help you is the guy you hate the most.

taglist; open!!!

status — starting soon.

warnings; language, mentions of alcohol, threat, angst, cliffhangers (wouldn’t be a yutarot fic without it), mark has a crazy ex.

disclaimer; all portrayals of people of people are fake and from my imagination, in no way am i claiming that they act like this irl.

note — ahhh i can’t wait to start this one!!! imma let this sit on here for a while whilst i finish ride or die, pls lmk if you want to be added to the taglist before it starts!! see u then! (haaland will be making a comeback in this fic too heheheeh) also this is very much inspired by the “what letter?” scene in anne with an e SO I CANT WAIT FOR THAT

[spanktony]

prologue. | WHERE DO YOU SLEEP? — YU JIMIN.

𝘀𝗵𝗼𝗿𝘁𝗲𝗻𝗲𝗱 𝘀𝘆𝗻𝗼𝗽𝘀𝗶𝘀 — y/n, a rising music producer, has built her dream career while keeping her personal life under wraps. karina, aespa’s leader, is preparing for a huge comeback with a mini album produced and written by the one and only y/n.

karina knows this is the opportunity of a lifetime, and she has to nail it. the only problem is, she may be a bit distracted by her producer.

something about their connection feels different—like maybe it's worth the risk of prying eyes. but how much will they give up to chase after what they want?

𝘄𝗮𝗿𝗻𝗶𝗻𝗴𝘀 — none.

𝗮𝘂𝘁𝗵𝗼𝗿𝘀 𝗻𝗼𝘁𝗲— dude, i've been writing this series like crazy to the point im almost finished. and i HATE the first 3-4 chapters because they're kinda boring bruh. but happy new years guys! enjoy!

taglist — open!

series masterlist. main masterlist. next.

the first few months back in seoul were nice.

actually, more than nice, it was everything you hoped for after being on the road bouncing from city to city.

you had just gotten off a mini u.s. tour, with a big emphasis on mini because it was only around seven cities in total. but even that small stretch was a whirlwind of airport terminals, crowded venues, and late nights in hotel rooms that all started to blend together.

you had missed seoul, specifically your grandmother's house, because that is where most of your childhood memories took place.

born in new york, you were adopted by two of the kindest people you'd ever known. your parents met in the city, fell in love, and decided to start a family through adoption. your mom, who was korean, made sure you spent every summer in seoul with your grandma so you could stay connected to your roots—learning the language and culture firsthand.

it was her way of preserving what mattered, and you were grateful for it. those summers with your grandma was something you'd cling onto till eternity.

your parents did an amazing job of raising you—big props to them.

now, at 22, you were five years into your career in music. producer, singer-songwriter, performer—if it involved music, you were all in.

things had moved fast: two grammys out of the four nominations, three spotify 1 billion streams plaques that all hung proudly in your studio, and countless music festivals under your belt. you had done everything, from coachella to lollapalooza to bonnaroo and a slew of others.

though you were proud of all you'd achieved, the constant performing was beginning to take its toll. you needed a break from the spotlight, from the endless cycle of promotions and tours. you loved the hell out of your fans, but man you were tired.

so, when you told your management you wanted to step back from performing and focus on writing and producing, they were hesitant. they had their plans for you, but they knew better than to argue when you were so adamant. they respected your decision, and now here you were, doing exactly what you wanted. helping others create music, being behind the scenes rather than on stage, where you could breathe easier.

after months of your team sending your demos out to various artists, you finally got a callback from smtown. saying you were nervous was an understatement. the nerves had settled in your chest and stayed there, a heavy weight that didn't want to go away.

you had written this demo with a friend a few months ago, and it was one of your favorites. it was a little different from the usual songs you produced, and it was a risk. but when the call came, your team couldn't have been more supportive. you were excited but terrified at the same time.

that brings you to today, a month later, sitting in the lobby of the smtown building.

your legs bounced uncontrollably as you stared at the clock on the wall, counting down the minutes until the meeting started. you were early—not too early—but the wait was killing you. the lobby was quiet, which was unusual since the building was constantly buzzing with artists coming and going. the company was big on privacy, though. they always tried to make sure no one was photographed, and you respected them for it.

your manager sat beside you, cool as always, one hand scrolling through his phone while the other rested casually on his knee. you had known him since you were 19, fresh to the music scene and pretty much a mess. he was assigned to keep your career on track, and while he took his job seriously, he didn’t have the whole uptight vibe that most other people in the industry did. he was cool, collected, and a little sassy, which you appreciated more than you'd like to admit.

"seriously, can you stop moving so much?" he said, not even looking up from his phone. "you're making me dizzy just watching you."

"i'm just... excited," you mumbled, forcing yourself to sit still. "i can't help it."

he rolled his eyes dramatically and shook his head. "excited? you look like you're about to pass out. you do know that they already liked your song, right? they called us in."

"yeah, i know," you replied, trying to shake the jitters. "but, you know... they could change their minds. or something."

"or something," he mimicked. a glare shot his way, one that he didn't seem to mind at all. he was used to your glares. he had dealt with them for the last three years, after all. "please. just relax, okay? i'm sure it'll go well."

you nodded, taking a deep breath.

glancing down at your phone to see your mom's text, smiling to yourself. she always knows how to make you feel at home, even from halfway across the world.

mom ❤️: tell your dad that he's too old for tiktok. he keeps trying to dance.

you snicker. a response from your father quickly comes, adding another grey bubble to your screen from your family's group chat.

dad 💙: tell your mom to mind her own business and to get off my phone!

you slip your phone back into your pocket as your manager taps your shoulder, his hand lingering on your shoulder before he gestures for you to follow him.

you rise from the seat, following behind him as another figure begins leading him. lots of leading. so many twists and turns. and then an elevator, which the three of you step into, where you immediately blow a quick raspberry, the sound loud and a little childish. the corners of your mouth twitch as you try to stifle a laugh.

you glance up at your manager, who doesn't seem to mind the odd noise at all—he's used to you and your little ways. when you look at the other man, he looks surprised but intrigued. you think he's trying not to laugh as well.

stepping off the elevator and rounding a corner of the building, you pull the brim of your hat down a bit more with your right hand, hoping to cover a little more of your face. it's a nervous habit that's stuck with you since the beginning of your career.

your manager, walking just ahead, casts a quick glance back at you. his expression is neutral, but there's a certain glint in his eyes that tells you he's as excited as you are, if not more. the other man—a member of the smtown staff, you assume—keeps pace, a very fast pace, as he's much taller than either of you.

curse tall people and their long legs.

the three of you finally stop outside a room marked 115.

your manager turns to look at you, a smile on his face.

"this is it," he says. "are you ready?"

silence.

karina's eyes are unfocused, staring after your footsteps that are moving further and further away. it's an early morning, and the group has been called into the company's building for an important meeting revolving around their upcoming comeback. it had been a long couple of months since their last project, and everyone was eager to dive into new material.

the sound of her manager's voice, calling her name, pulls her out of her reverie.

"karina?"

she blinks, her gaze snapping back toward the voice that is holding the boardrooms' main door open, awaiting her entrance. karina blinks a few more times, her eyes refocusing as she shakes off the lingering thoughts of the stranger she had just seen.

she's usually good at recognizing people in this building, but she doesn't know who the person is. the black new york yankees hat was pulled so low over their face that she couldn't make out any features.

"karina," her manager calls again, a little louder.

"yes, sorry, i'm coming."

she steps into the boardroom, a small room with a long, sleek table and a whiteboard at the front of the room. several of her fellow members are already seated at the table, along with their managers and a couple of other staff members.

series masterlist. main masterlist. next.

[receivedhope]

I feel like it's pretty undeniable that from Season 3 onwards, there seemed to have been a shift in Blaine's character from how he was in Season 2. While I am not the first to point this out, I do think there are some greatly underutilized traits of Blaine present in S2 that get phased out as he receives more screen time and are not usually brought up in such conversations.

This will unfortunately get long because I love Blaine meta.

There was always some half attempt at making Blaine out to be bossy and while Puppet Master is an episode that aims to address this, I did think it fell a little flat in selling this side of him. He was more whiny than anything lol. This bossy side of him that always wants to be in control of the room and the people around him was... given a better set up, I'd say, while he was in the Warblers. It was more subtly showing than outright telling, though unfortunately we spend so little time in Dalton that it was hard to gauge the inner hierarchy and dynamics of the group accurately since they always presented a united front to outsiders - Trent's betrayal in S4 is a big deal. But I always did find it interesting how hung up they were on Blaine, who at the very most attended Dalton only for two years, as well as that he had no actual title such as a captain or head Warbler, yet was the decided leader of the group not just star performer. (See: Will shakes Blaine's hand after their Sectionals tie. Based on just the Warbler court scenes, you'd assume Wes stepping up here to do so make more sense.)

Though it was not lost completely and I always have been of the opinion that most conflict Kurt and Blaine have stem from their respective control issues. Kurt needs schedules, sufficient space to move on his own and he exercises his need for boundaries freely (see: retreating to his room in Home and asking Burt to leave as well, not allowing Finn to touch him in Theatricality and Grilled Cheesus, scheduling Friday night dinners with Burt, scheduling make outs with Blaine in DWS) while Blaine enjoys being the protector and ultimately having the last word (see: the entire plot of Tested and NNY). It makes a stupid amount of sense that the times they butt heads the core issue stems from an external force limiting their movement, like how in TFT Blaine sees the opening night closing in on him as a deadline and makes him panic, or when Blaine cheats in TBU to gain some control over how to identify their long distance relationship, or how Kurt feels their impending wedding more suffocating than anything pre S6.

However something that unfortunately did seem to get entirely lost from Blaine's character as time went on, that I do think miss from him entirely in latter seasons, is his conformist attitude from S2.

Blaine is almost Kurt's foil during his Dalton arc. While Kurt hates having to fit in (and has never quite succeeded in it at all), Blaine likes moving as one with other people. He likes being a part of a team, being depended on and being liked. And this attitude ultimately is why he is stuck in a rut before he meets Kurt - he retreats to Dalton when real life gets complicated and messy, because he is never challenged by it. Dalton is how Blaine ultimately sabotages himself.

Even his wardrobe in S2 was telling this story - a completely normal guy who likes being only that. The very few times we see him in everyday clothes, they are average with nothing outstanding to note. Dark colors, jeans, simple shirts. A far cry from "I am the center of attention and this primary colors proves it" and wacky bowties. While I always liked that Kurt is most likely the one picking out his clothes, I did enjoy this side of Blaine more, the subdued, regular everyday guy who wears only what his peers do - even if the costume department would have found it painfully boring to stick with in the long run lol.

Why he got so worked up about and increasingly frustrated with Finn actively excluding him from the ND in early S3 also makes sense. While Kurt, as a true individualist with no real desire to fit in is not easily phased by not being included, Blaine takes it to heart.

(I always thought Blaine views having a significant other is like always being in the same team with someone and is why he desires a relationship so much.)

I like this aligned with his hesitance and slight uncomfortableness over Kurt's prom outfit in PQ as well. (Though, I'm sorry to grasp as straws, I also enjoy the thought of Blaine deciding to side with Burt as a way to impress him - if you look closely, Blaine is more impressed and smitten with Kurt's outfit at first... But you are free to disregard this point because this is just me being insane.)

A natural conclusion of his bossy and conformist personality would ultimately result in him also leaning towards being authoritarian, which I think makes great sense for someone who likes being part of a team, knowing where they all stand and making sure he fits in but also preferring to take charge and be the head. I really like that! And I think this all being contrasted with Kurt, who can't blend in, even if he tries (see: Preggers, Laryngitis, his entire dalton arc, I'd argue that even his senior class president campaign as well as starting in NYADA qualify a bit) and always makes his own path to follow is just sooo interesting and can really sell the whole opposites attract thing! Because I do believe that Kurt found it particularly nice that there is this outstanding, well mannered guy who is respected by all his peers and is ready to go to bat for him, helping him push Kurt's ideas as well as using his influence to help him - I think somthing very similar attracted Kurt to Finn as well in S1 - and it is pretty much canon that Blaine finds Kurt's fighting spirit inspiring and something hopeful (I think he was inspired by Kurt to transfer to McKinley, which is why "I did this for me" and "I even switched schools for him" can simultaneously be true), as well as attractive that Kurt is a one of a kind (cut to 'youre the only one...' in DCT). Also put a pin in that last part, because I have so much to say about the consistent bird allegories and imagery associated with their relationship, but maybe at a later date since this is already getting long.

Other times, I also think that S3+ Blaine is not that out of left field if you pay attention to him in S2. Something that gets pretty early established is that Blaine is a rash and impulsive person. When he is hurt, he lashes out. You can see this in NoN when Karofsky picks a fight with them, it gets physical pretty quickly, however you can see Kurt being just... disappointed? Resigned, almost?

Blaine is also quick to react to Sandy's heckling that Kurt shuts down asap.

We later learn that Blaine is also entirely capable of doing things with the intent of hurting Kurt - he sings a Whitney Houston song at him that implies Kurt much less ambigiously cheated than in reality, in front of all his friends, because at the core of it is his anxiety about Kurt leaving him. He cheats on Kurt when he feels neglected.

And I think it is a bit naive to think he dated Karofsky entirely because of a supposed mutual attraction, ignoring the Kurt of it all. The history them three share is undeniable and he did want Kurt to feel like shit about it - which, for the record, I think is understandable since Kurt broke off their engagement rather ungracefully and it pushed Blaine into a depressive state, to the point of getting cut from NYADA and having to move back to Ohio.

All that to say - I always found all of the above very in line with the S2 Blaine who was quick to compare Kurt to Karofsky in BIOTA, just because Kurt said something mildly offensive in a moment where he was also hurt!

I guess this is also the time to quickly, as a sidenote, talk about Kurt's biphobic comment. I think the ultimate, intended purpose of the scene was more comedic. A mean, off color joke, but a joke RIB wanted to make nonetheless. However I do not find it out of character. Firstly: that is a seventeen year old boy who was told his whole life that he is disgusting and sick for liking men by the entirety of the conservative town he lives in. He is sexually assaulted by his closeted bully and has to transfer schools and he was never afforded to be "in" the closet either, because everyone around him assumes his sexuality. How right or wrong that is to do, is another topic. He has a crush on the only other out and proud gay kid in Ohio - who would rather give it a shot with a girl before Kurt. And to add insult to injury, Kurt already lost a crush of his to Rachel!

Of course he is hurt, of course he will say something less than gracious!

And Blaine in the only other person who is fully aware of Kurt's situation - for him to compare Kurt saying something mean and a bit offensive to Karofsky's actions is out of pocket, in my opinion.

I'm not sure how to end this neatly, but I will say this: I do like all of the above about Blaine and would have loved to see these traits more consistently. I do not think this darker side of his negates the good parts of him. If anything, understanding his lows helps me appreciate his highs even more.

[shiraoyagi]

just to give my 2 cents (not that it particularly matters), but i honestly disagree with this because it requires a hierarchical view of relationships which i don't think applies well to vbs (and is frankly, amatonormative, but that's a whole other tangent i won't go on here)

they do all care about each other equally. they just care about their partners in a different way from their teammates. the relationships are different, but one is not more significant than the other; especially when we get into specifics.

(event spoilers below, i labeled them in the tags)

for example, you made the statement that only an's singing will make kohane's heart pound, but this is not true. in fact, during kohane5, we are treated to this scene:

(tls by lozy bug, this is from chapter 6 of over rad squad)

there's also the fact that in main story, kohane showed incredible amounts of concern for akito and touya and did everything she could to help them even when she was under the impression that they sabotaged her and an. there's also akito supporting an in various events, the fact that in akito3, she was the one to give him the dream of "surpassing rad weekend" rather than just "i want to put on a good event like that", and the implication he wanted to team up with her during vbs main story. there's also touya seeing himself in kohane in main story and touya1, and her hard work trying to compose in touya3 giving him the boost he needed to continue composing. there's akito going from making jabs at kohane early on to wholeheartedly supporting her in kohane3; when an barely could— and he noticed that in resonant town and was still there to support her through her insecurities. there's even an4, where akito made it blatantly clear he trusted an to keep singing with them— where it was made clear that all of vbs trusted an to keep fighting, no matter what. there's kohane4, where touya was pulling the rest of them along in spite of all the backlash they faced. there's an5, where both akito and touya did everything they could to help her with her feelings towards kohane; and especially touya, who couldn't bear to see an repeat the same mistakes he did in main story— not just because their team relies on it, but because he undeniably cares about her.

this doesn't even account for earlier events, like akito1, where everyone was concerned for akito (not just touya), and i failed to mention that kohane's main conflict in kohane3 is the fact that she doesn't want to hurt akito by messing up a solo at crawl green, the livehouse he has trauma at (and even if she never learned the specifics, she clearly can empathize with it, especially with what happened to her in main story). i can list a lot more examples (like touya's an2 card story revealing that he has been worried about an this whole time up until an5, but akito wouldn't tell him anything because an was only comfortable coming to him and not touya or things like akito fes, an fes, mixed events, and other card stories) but we'd be here forever.

vbs does have two duos, yes. their partnerships are very important to their lore, and i don't think they should be undermined (and frankly i hate when people do that).

HOWEVER, i also don't think it's fair to treat the friendships they've made with their teammates as something "less important" to these characters just because the partners tend to be more openly affectionate with each other. all of them would be miserable if they weren't a team and were just still duos, if you think about it rationally. kohane would have no one to challenge her as an equal, an wouldn't have anyone to comfort her and then push her into talking with kohane, while akito and touya would likely be permanently broken up without the interference of a sekai (which only exists BECAUSE vbs are meant to be a team; that's their true feelings), and none of them would surpass rad weekend; because they'd never get the growth that they needed from each other.

anyways please don't take my argument personally, i just wanted to add my own thoughts, so i'm sorry in advance if this makes you uncomfortable

Each time someone claims that *insert VBS character* cares about their team the same as their partner, I explode. Yes, they are not *just* two duos, they're a team, but they're still two duos. Akito will care more about Toya than both Kohane and An. Only An's singing will make Kohane's heart pound. Toya won't sing without Akito. Only Kohane will be able to make An feel such strong feelings of both adoration and inferiority.

They can care about their teammates but value their partner more.

[alpaca-clouds]

Why do people struggle so much with understanding pacing?

Okay, let me talk about my pet peeve when it comes to writing in any medium. Pacing.

People, who know me for long, will know that this has been the thing I have been complaining about since I was like 12. And there is a good reason for it.

See, when I learned to write, there was this guy who I greatly admired as an author. And after bugging him for a while (look folks, the internet was a very different place from what it is now) he did give me some recommendations on books on writing. And a lot of them went deeply into his pet peeve, which - you guessed it - was pacing as well.

And thus, I learned early on about story structure, and pacing, and how to pace out a story in a way grips the audience. This material I read went onto different techniques for different mediums, into how different cultures had a different ways of dealing with this, and so on, and so forth.

Some of my main take aways were, that a lot of very long stories struggled massively with pacing, and that a ton of people also very miscalculated their ability to handle characters in terms of pacing - because characters and pacing are two things that are very, very heavily connected.

I also learned something else, though: That a lot of western writing advice did not understand anything about pacing outside of the idea that stories were supposed to have three acts - or maybe five - and ideally from a certain fateful day in the early 2000s on, would follow the "save the cat" formular. (Mind you, I do not hate "Save the Cat", however, this formular has been created for movies. It works at times somewhat well for books, too. But it definitely does not for for pretty much anything serialized, because that is not what it was developed for.)

And I also learned another thing: Most people do not understand pacing either, because pacing is not a thing that is ever taught in normal school (like most things that are about creative writing are not). So, while some people might have a gut feeling that the pacing of something might be off, they rarely can actually say why. And this is only worsened by the fact that today's tiktok addicted society is so used to consuming ultra condensed media, that they will perceive anything less condenses than 1 minute tiktok videos as "too slow and boring".

So, please allow me - the guy who kinda hyperfixated on this specific writing skill - to talk about pacing. And this will be in the following points:

What is pacing actually?

How do characters relate to pacing?

Pacing, Streaming and the supposed "filler episode".

Pacing and Fantasy

Pacing in Action vs anything else

Pacing in books vs visual media

What Is Pacing actually?

Okay, I think one of the main issues when it comes to understanding pacing is, that a lot of people see pacing on a on a spectrum that goes from "I am bored" to "I can't follow the plot anymore". But that actually does not always have to do with the pacing - obviously.

Technically pacing is the speed in which the plot moves. Or, to make it more quantifiable: "How many plot points (beats) are covered per either time (in any timed medium) or per page (in anything you read)". Which makes sense at the first glance - but does actually often not line up with the subjective perception of this. Becau se here is the thing: No, fight scenes are not automatically fast paces. A lot of modern action movies have super slow paced - in terms of story pacing - action scenes. Because yes, during those action sequences a lot of STUFF happens, but nothing of it actually is in any way related to the plot.

Look, I freaking adore the Fast & Furious movies. But you could literally edit those movies down to like 45 minutes each and not lose a single plot beat. But of course, nobody would watch those movies - because yes, me and everyone else who adored those movies, is there to watch them lunch cars into space and see stuff blow up. I don't much care about the characters or the plot.

This is by the way also the kinda point that me and other people talk about, when we are unimpressed by "oh, but sex scenes don't add anything to the plot", while the same people would often not make the same argument about action scenes - even though there is a ton of movies and shows where the action scenes really do not add anything to the plot. A lot of people just do not perceive action sequences as slow pacing, because even if nothing that happens on the screen actually adds anything to the plot or moves it forward, it is undeniable, that STUFF is happening. So basically monkey brain will go: "Hehe, things go boom!"

Don't get me wrong: there absolutely are stories in which the action is moving the plot. Mad Max Fury Road is a great example. The movie is also about 60% action - but the action scenes actually add to the plot.

Meanwhile nothing tells you as much about how unimportant some of the MCU action scenes are, than the fact, that they are often done by a completely different team and will be done apart from the rest of the movie.

But yes, traditionally the idea was, that towards the "finale" of a piece of media, a lot more plot beats would happen over a shorter amount of time. You will see that also in a lot of beat sheets. There are more beats that need to happen in the third act of a story - if we go by three act structure. And often there is actually even more plot developments, as usually in a finale all the "plotlines" will kinda finish up in the end. So even plotlines where not a lot has happened to this point - this shows especially in serialized works both in TV shows and stuff like manga or comics - the important plot points will then often happen close to the finale, because it feels more "right".

In older serialized media - especially TV shows prior to streaming - you also had the same thing hold true towards the finale of a "story arc". In a lot of older shows, you would usually see a structure that looked like this.

The "rise" here technically has less to do with more stuff happening in later arcs or seasons - and more with the threat-level rising, and the convulutedness of a story. lol

But yeah, the take-away from this part should be: No, action does not equal fast pacing. There can be action-heavy shows with super slow narrative pacing - but it will to many not feel this way, because at least action is interesting to watch. Which also might be an explanation to why people are a lot worse in seeing the issue with action-scenes that are not adding anything in visual media, but might actually notice it in written stories. Because in books action scenes do not feel "fast paced" in the same way they feel in movies, where the often faster editing and the amount of motion on screen will create this effect.

Oh, and on the other side: Of course there can be slow paced plots that will leave you having problems following. At times, because they are badly written (aka: the media does not give you all the information you need) - and at times, because a piece of media might expect you to know a certain bit of information that you do not know. I can definitely think of a variety of scifi media, that just expects you to know stuff about computer stuff or space, and will not explain it to you. Which might make you need longer time to take plot developments in, and then leaves you reeling.

Another thing however that is also important is: If the pacing stays actually the same throughout a piece of media - rather than accelarating towards the finale (or finales if there are multiple) - it actually will feel wrong in some way. Often people (even I, who hyperfixates on this specific thing) struggle to point at it at first. But yes, this very much is an issue that also can happen. You want the pacing to accelerate towards certain points in the plot - and then slow down. If you had an important point, you want a few slower scenes/episodes/chapters afterwards, to allow the audience to somewhat absorb all the new things you presented them with.

How do characters relate to pacing?

Alright, now we come to the dicey part - specifically, because a lot of people (which includes narratologists, creative writing professors, and people professionally writing) actually kinda do not fully agree on this. So, fair warning: This is how I think.

A character arc in many cases absolutely is a part of the plot. Most media we consume these days are character driven, so the characters are absolutely centrally connected to the plot and the plot mainly exists to have the character move from point A to point B. Or, to make it more basic: To have a character realize that their WANT is not their NEED.

Sure, those characters will usually also accomplish something plot-related. But them accomplishing them is more often than not heavily connected to them fulfilling their character arc. (Please note: characters having a want but having to realize a need is something that is core of western storytelling. However, given that it makes for interesting character arcs, a lot of Asian media these days also will use this as a central driver for character development.)

In some pieces of media, the character arcs are way more heavily tied into the beats of the main plot, than in other. In adventure, action, and related a lot of fantasy and scifi, there is most of the time a character arc happening parallel to the main plot beats. Meanwhile often enough in more down to earth drama and romance, plot beats and character development beats are heavily interwoven. This is not a hard and fast rule - there absolutely is fantasy where the character arc is the plot arc, just as there is romance where the development does not play as heavily into the main plot - but you can generally observe it.

However, no matter how strongly the character development beats line up with plot beats, you cannot deny one thing: character beats are beats that also add to the pacing - even if they technically do not move the main plot forward. So, for example, if you have an episode in a show or a chapter in a book, where important beats happens in terms of a characters development (for example: they realize something important about themselves), this does not necessarily slow the pacing down - even if no actual plot beats happen.

What the fuck is a plot beat? What is a character beat?

This part of the essay was originally not included, but the people reading over it said I should include this.

If we say, that Pacing is basically the description of "Plot Beats per Time" or rather "Plot Beats and/or Character Beats per Time", then we also need to say, what exactly a Plot Beat is. I will fully admit, that this is one of those things in which I forget that this is not a thing taught in school.

I mentioned "Save the Cat" before. "Save the Cat" is a book about writing movies and specifically about pacing out a movie in a way that it is captivating. It mainly focuses on action, but you can absolutely use it for most other genres. And this comes with a so called "beat sheet", a collection of the main story beats that happen, showing when they are going to happen. It looks like this:

Basically a Beat is a scene, in which the plot (or a character arc) is moved forward by a bit. Basically anything that reveals something to the main characters, anything where the basic assumptions about the plot change, anything like that.

Examples for Plot Beats would be:

Character learns about something going on

Characters find out something important about the plot

Someone (either protagonist or antagonist) gets killed or injured

Characters get a new power or item that is important to the plot

Romance goes forward or a reason for the romance to happen is found

Characters find a hint for something they want to reach

And examples of Character Beats would be:

Character learns something about themselves

Character makes a decision for themselves

Characters realizes feelings about something or someone

Character overcomes trauma

And mind you, because I cannot fit this anywhere else: If you read these you might realize, why Musicals are basically a cheat for very fast pacing. Because you can put an entire character arc into a 4 minute song. This is why musical animated shows like Steven Universe or My Little Pony managed to pull some insanely paced episodes, like the Empire City episodes for SU, and the episode in which the Cutie Mark Crusaders finally got their Cutie Marks. Musicals are insane when it comes to this.

And something that you have to realize: While for movies and books certain Beat Sheets (Save the Cat is not the only one) work rather well, those Beat Sheets usually do not work well for Shows. And currently we are living in a time, where this becomes very noticable - because a lot of modern shows are written and aired as basically 4-8 hour movies, using often just the "Save the Cat" beat sheet (if you have read Save the Cat, you will see it EVERYWHERE, because it is so frequently used in western media), but... obviously, Save the Cat is made for something that has 2 hours, and as such a lot of modern media feels strangely slow and stretched out.

Pacing, Streaming, and the supposed "filler episode"

(Yes, this needed to be the gif for this. Because no filler episode has lodged itself quite as strong into my brain as this one.)

So, let me talk about the issue in modern media. Because oh boy.

As I said: I hyperfixated on this specific writing skill forever - and as such I was annoyed by "filler episodes" in TV shows. To explain for the youngest people (not that I am assuming a lot of those are on this hellsite lol): "Filler" was the name given to material that did not move the plot forward at all. So a "filler episode" was an episode, that was just there to fill the episode slot for the week, while no plot was happening. I am not fully sure whether the term originated with anime - but at least back in the early 2000s, before Shonen-Anime were done as 12-26 seasons that then allowed the manga to get ahead in between, "filler" was also the name used for those story arcs that the anime people made up for shows like Naruto, One Piece or Dragonball, that were not in the manga - and hence obviously also never added to any overarching narrative.

And what can I say: We did not appreciate the filler episode enough. Because this related very much to the last part: While filler episodes did indeed not add to the plot and usually by definition did not the character development, they actually still added something often enough.

They allowed the audience to get to know the characters a bit better and get a better feeling for the character relationships - and those episodes take out a bit of speed, which is actually important.

As said before: The pacing should not be even throughout an entire piece of media. In a TV series after an episode that was especially tense and pushed the plot or characters forward a lot, there should be ideally at least one or two episodes that move forward slower or even not at all. This allows the viewer to sit with the new developments for a bit - and of course the characters to have a moment to breathe and process whatever happened to them.

There is also the fact that those episodes usually give the audience a better understanding for the characters - and if you have an audience who at this point ideally care about some the characters, this will even be more successful.

And as I said. Back in ye olden days, a lot of people - me included - complained so much about Filler. But we were wrong. Fillers are amazing, as long as they do not overtake the whole show.

Pacing and Fantasy

Okay, let's talk about a thing, that is somewhat funny. A lot of fantasy - specifically written fantasy media - often has a pacing problem. And this problem comes from the Worldbuilding. Others forms of fantasy media (other than games - though pacing in games is whole different matter) have this too at times, but it tends to be worst in books.

Basically, when you are a fantasy worldbuilder, you have this whole world. And this leaves you with two problems.

a) You are afraid that people will not be able to follow the plot if you not give them a lot of information about this world and how it differs from ours.

b) Well, you build this entire world. And the people should KNOW.

So, a lot of fantasy media basically regularly will stop to explain to the reader or audience, whatever is happening right now. Some writers manage somewhat naturally put this in. Maybe they have a character that does not know a lot about for example magic or dragons, and they can ask questions and act as an audience stand-in. But even in cases, where the worldbuilding is somewhat brought in naturally (which by far is not all of them - because people usually do not naturally talk about stuff they both know, or think a lot about something they find naturally) those "explanation" pieces will make the plot come to a screeching halt.

So, the more worldbuilding you explain, the slower your pacing is.

And of course, pacing is not a reliable thing to keep people reading, and pacing will not always turn people off. But you know how people complain about how slow Lord of the Rings is? This is because of course, every time that Tolkien describes a piece of landscape over multiple pages, there is no plot happening on those pages. And while I personally think some of those descriptions are darn stunning, it is one of those things many people will not like.

However, this makes it a bit complicated. Because yes, worldbuilding explanations will slow down the pacing to a degree that can be problematic. But if you explain too little worldbuilding, people might struggle to follow the story. Which again is the most common problem if the pacing is "too fast" as well. Basically, people do not properly follow the plot and will struggle to understand what is happening and why.

But the opposite is true as well. I have read way too many fantasy books, where after the first 100 pages, I know a lot about the city the plot is set in, or about the magic system, but sadly have so far not been privy to any information what the plot is about, what the characters try to archive, or even who actually the characters are. And that, yeah... Is probably the most common reason why I put aside a variety of fantasy books in the past.

Pacing in Action-media vs anything else

Okay, let me talk about one other thing. See, the word "pacing" is at times used in some other context: In visual media, pacing will be used for the editing of what we see. Basically the amount of cuts that happen within a scene. Or, in a comic, the distribution of panels is also seen as a pacing element.

And anyone who heard people complain about how at times confusing the editing in action movies is, you know that this at times can get too much.

Still, in visual media action scenes feel usually fast - because the characters are moving around rather fast. In a visual piece of media, action scenes are often thrilling, because the characters are in constant danger of dying, and because a lot of stuff is happening. This often works better in visual media, than in written pieces. While it absolutely is possible to write thrilling action scenes, a lot of writers struggle with this, because they tend to overdescribe and that takes the speed out of the prose. But generally speaking, a couple of punches thrown - something that in a movie takes about 10 seconds - will in book easily end up in 200-500 words, which you will not read quite as fast. A bit more about that later.

And then there is the issue with the action scenes, that even is true for visual medial, is that they often really do not have any important plotbeats. Sure, if the characters have their final battle, that is a plot point. But in a lot of action media - especially TV shows - there are a lot of scenes included that really do not add anything, but just are there because folks love watching action scenes.

This goes so far, that people will think a show or movie with a lot of action scene will just be seen as "good fast pacing", even though if the actual pacing in terms of plot beats being spaced out is rather bad. As a good example I will once more nod at the Fast & Furious and the Mission Impossible movies, that often have horrid pacing and very confusing plots - but they do not feel really like it, because the movies are like 60% action scenes, and hence they do not feel like it when you watch them.

It can work at times. I spoke about my love of the F&F movies. Can I tell you a lot of the characters? Nope, but the action scenes are fun to watch!

But this also tends to mean, that in a badly paced movie or show, that is badly paced because the action scenes not adding any plot beats, everything tends to fall apart when the action scenes do not work. And often enough action scenes will still be prioritized over everything else in many of those pieces of media, making things fall apart easily.

Pacing in books vs visual media

I have hinted at this now multiple times: Written media is generally a bit harder to pace than visual media, because of the things you can and cannot control. While a writer in a book has full control over the scenario, a director of a show or movie had actually influence the timeflow of the things happening on screen. As a writer meanwhile you absolutely have no influence on the speed in which your reader will read.

Sure, you can somewhat influence it. Shorter sentences are easier read. An general lower reading level will allow people to read quicker. So simpler words, shorter words, shorter sentences will make parts appear quicker. You can use this for example in action scenes to have a bit more of this breathless feeling that an action scene on screen might have. Use short sentences. Do not link sentences up. Quick hits. Quick impressions. It can work - but it needs some training. Not to say it is fucking hard.

Generally speaking to my experience when you write a single novel, the "Save the Cat" Beat Sheet actually works rather well, if you are the kind of writer who is fairly good at planning things out. If I actually try, I will usually manage to plan out a story and predict fairly well how many words a chapter will have. So yes, for books I can very much use "Save the Cat" and it will work.

However, some things simply work a lot better when you have visual parts going on - but there are other things you can do better when you do not have the visual stuff. For example: A writer can do much more when it comes to motivation and introspection of characters. Yes, this slows down the pacing - but it is something that writing has basically over any form of media that is not a musical. (In a Musical you can characters do introspection through songs. Musicals are the ultimate way of cheating. I love them!)

Something I feel so many writers struggle with in terms of books is actually putting in a clear goal for the character from the beginning. Again: I have put too many books aside where I reached page 100 and did not yet have any goal for the main character.

That goal you give them does not necessarily need to be their final goal. Again: A lot of western storytelling deals with the incongruent nature of a characters "needs" (aka something that would actually help them) with the character's "wants" (aka what they think they would need). But at the very least the plot needs something that it can head towards from the very beginning - a hook to capture the reader.

There might be readers that are absolutely fine with just reading an exercise in worldbuilding - but you cannot expect them to be.

[aviradasa]

The Lost boys main Hcs

Dwayne

Also i gave him an actual personality. Cause suprisingly, quiet people can have personality traits other that being a brooding,mature,book loving,parental, and having good dick.

Ok Well i kept these traits but added more to him cause i didn't see anyone else doing so.

Enjoy!!

(Ps this was hardly proof read. and written at 2 am so pardon how weird it may be)

Contrary to popular belief this man is just as crazy as the others. If not more.

Granted, yeah, he can be chill as hell but do not let that fool you cause just under that quiet persona is an actual sadistic asshole.

I mean damn.

To start off, this dude is brutal when it comes to feeding. I mean, he can give David a run for his money.

I mean did y'all see him during the bonfire scene??????

During that, he was honestly a bit rushed cause normally, he will keep his victims alive for a good long while before actually killing them, all while ripping them to pieces.

And cause he is smart as hell he knows the right places to tear into a person where it will take them longer to die from it.

What an asshole.

But when he's not being evil as fuck he is giving the others stupid ideas.

I mean honestly i think the whole taking Michael to the bridge thing was his idea.

He just snuck over to David and was like, "Hey, I have a wonderful idea." And David was like "hell yeah I like that"

Well, ok, that's not exactly how I went, but that's my dummed-down Disney villain version.

They had all hung off the bridge before, but Dwayne knew that that would probably freak Michael the fuck out more than anything, and he just wanted to watch that poor dude suffer.

On that topic he lowkey hated Michael at first.

So he just ignored him as much as possible. But at the same time, he also was just waiting for Michael to start some shit so he could fight him.

When Michael punched David, this man got so excited, only to have his dream crushed when he couldn't swing on him.

Poor dwayne.

The main reason we don't see much of dwaynes personality is cause Michael is around every time we see him and he does not fuck with him enough to grant him access to who he is as a person

Speaking of him and David, I, kinda see them as being evil scheming, besties not gonna lie. Like when Dwayne gets a fun little plan in his head to fuck with people, he's creeping up on David to tell him all about it. (And plant the seed in his mind)

Honestly, if you walk in when these two are talking you swear they both just look like this

Like honestly its just a back away slowly and forget you ever saw them situation 🤣

The best part for him is letting people believe it was David or one of the other boy's ideas so he doesn't get too much attention drawn to himself.

As much as this wannabe attention whore wants to, he will hardly take credit is his plans so as not to get Max on his ass. As much as he wants to be like, "Yeah, I made them do that, hahaha," he won't.

He's literally like a little puppet master.

But enough of him being a silent but deadly dickhead

This guy is amazing at so many things.

He's a bigggg car/ motorcycle guy. If you take him anywhere, like a car show or something, he's gonna be yapping with the owner of a fuckin 1942 Chevrolet Fleetline for 2 hours.

And he can and will spend HOURS, NIGHTS, even working on his bike. Does it need work? No. Does he just wanna work on it for fun? Yes.

Oh, and if the others mention even a slight tick coming from their bike, he's becoming the most insufferable know-it-all in the cave.

" oh well you know if the ticks coming from theirrrr you should already know it needs (blank)

They all hate when he does this but they still let him work on the bikes cause they know he enjoys it so much.

It's relaxing to work on stuff like that for him. He can just sit down, listen to his music, smoke a couple of cigarettes, and tune up the bikes all by himself.

And that's the way he likes to work.

He loves the other's company, but deep down, this man is introverted. He can go crazy and have fun but once his social battery is out, he is out, bye.

He will just disappear once he is done with people for the day. If he doesn't, he gets snappy and sassy, and it's just like "Damnnnnnn. Ok, sir ."

He will start clocking everybody's shit if forced to stick around.

But honestly, most of the time, he's cool. He's kinda like a cat, not gonna lie.

Shits gotta be on his terms or he don't wanna do it.

Ok ok I know I clowned on it but I do think he likes to read

And he does read ALOT.

He keeps a lil shelf of books in his area of the cave.

Aka, he took one of the big ass bookshelves from when the hotel collapsed, fixed it, and now stores all the books he loves on it.

He loves most genres, to he's not picky. From fantasy to westerns he readys whatever catches his interest.

While he reads he likes to listen to music that matches so once he was reading a sci-fi novel he had David Bowie BLASTING

They didn't even know he liked David Bowie. But hey, that's why we love Dwayne. He's full of surprises. And his music taste is the epitome of "I like whatever sounds good"

I could go on and on and on about this man but this might get long so if y'all want me to elaborate on any of these or make a part 2 let me know cause i WILL also if you want hcs of the other boys let me know! Night my little goblins 🖤🖤

[kiras-sunshine]

a little ficlet, a tarlos 5x06 coda really

Carlos frowns when TK's name flashes on his phone screen.

Usually, he would be glad to hear of his husband, but he knows he is in the middle of a shift. TK is also aware that he is at work, too.

Usually, nothing good comes out of unexpected phone calls in the middle of the work day in their fields.

Especially when they have agreed not to call each other while working unless it really matters and is urgent and important.

Carlos tries to shake the ominous feeling and the worry from his shoulders as he answers the call.

"Hey."

It feels as if his stomach is turning inside out.

"Hey, babe."

The fact that TK himself is the one talking on other end of the line feels like a small blessing already. He does sound a little bit out of breath, but otherwise okay.

Carlos is aware that his brain is obsessively scanning and overanalysing just those two words to figure out if anything is wrong.

It seems that things are alright, but his heart does not seem to believe it. It is beating heavily and it almost hurts in his chest.

"Everything okay?"

Carlos is aware that he does not succeed keeping his voice as light as he hoped and that his fingers have started to tap the surface of his work desk.

"Yeah, everyhting is okay," TK says softly, "we just had a--rough call. I wanted to call you."

Carlos thinks the worry literally melts away from his body as he hears TK's words. He closes his eyes and breathes deeply.

He sends a mental thank you to whatever god is looking after his husband.

"That's more than okay," he says, just as softly, "what happened?"

Their office is full of noises. There are people talking, typing on their computers and phones ringing. Still, all he is able to focus on is the sound of TK's voice.

"A man got crushed by a vending machine," TK huffs, "he died on the scene. There was nothing we could do."

Carlos is more than familiar with the bottomless feeling of helplessness that comes with calls like that.

He feels so useless and powerless when it happens and he hates that he cannot really help TK with that feeling.

He would love to take it away from him.

"That sounds brutal."

"It was," TK agrees, quietly, "he had not told a person he liked that he was into her. It made me want to-- not waste a moment and call you and say that I love you."

Carlos tries his best not to smile too widely. It feels weird to feel joy and being loved when they are talking about someone's dying regret.

But yet, he does feel loved and he does believe those words should be said as often as possible.

Especially after the state their marriage has been as he has been too stuck in the endless cycle of trying to find his dad's killer.

The realisation of that soothes his heart a bit.

It feels like a little miracle that TK wanted to call him just to say those three words, and therefore, he is going to treat it as a miracle.

"I love you, too," he murmurs, not really caring which of his co-workers nearby hear it.

"Hmm," TK hums, little happier than before, "I'll order dinner before you get home."

Carlos' heart is overwhelming with love and gratitude, for more reasons than one.

"Sounds good."

"Be careful out there," TK says, but there are sounds in the background, and Carlos knows they need to hang up soon.

He looks at the forms on his computer screen that he needs to fill in on the latest case that he and Campbell solved.

It seems that his shift is spent safely inside doing the paperwork.

"You too."

It feels like saying I love you all over again.

[renownedtholianpunctualityyyyy]

More Book stuff 💕✨

S02E15 The Trouble With Tribbles

Text transcriptions below; it's a bit chaotic.

[Page 1]

Q U A D R O T R I T I C A L E

"It's a Russian invention!" "Has everybody heard about this wheat but me?"

[15] The Trouble with Tribbles I.E. Kirk and Spock spend 50 minutes sassing everyone out.

[[Picture of Kirk and Spock giving each other A Look™]] *Really?* *Really.*

Kirk and Spock casually enjoying shoreleave together, but Spock won't have any beverages.

The entire bar fight with the Klingons.

Spock and McCoy bickering in the lab. "Better than I like you." / "They do not talk too much." Spock so hurt. 💔

Soooooo done.

Kirk hates Nilz Baris so much.

I love the hard cut to these two alone together in the briefing room. [[Picture of Kirk and Spock in the briefing room; Kirk sitting on the table while Spock stands rather close to him.]]

Spock has coffee on his tunic after this scene so I imagine Kirk got it on him.

"Now that's just ... lovely." "But not totally unexpected."

Uhura very cute with her Tribble ❤️

"I don't know, Sir."

"Oh! It's purring!" [[Uhura holding her Tribble to her ear and just *beaming*]].

[Page 2]

"A most curious creature, Captain. Its trilling seems to have a tranquilising effect on the human nervous system. Fortunately, of course, I am... immune to its effect."

Everyone smiles at Spock (especially Kirk) and he gets so SHY!

"Are you running a nursery, Lieutenant?"

Klingon is way too into Kirk?

Kirk's curves. Oh my god. [[Picture of Kirk with McCoy in his office. He stands side-on to the camera. There's a nice curvy line drawn nearby to accentuate his nice ... Curves.]]

"They're BISEXUAL [...]"

Kirk copying Cyrano Jones in saying "Au revoir."

The way everyone dodges Kirk's questions at the end. I love how he shouts "WHERE?!!"

Kirk being gently offended the Bar fight was in the Enterprise's honour, not his own.

Kirk being rained on by Tribbles.

Kirk 'testing' the Tribbles on different people and pleased that they like Vulcans. ❤️

This mutual shy look Kirk and Spock give each other when they catch each other enjoying the Tribbles. [[Picture of the Bridge covered in Tribbles. Kirk has Tribbles in his arms; he and Spock are looking at one another with a sort of mutual 'you didn't see anything' / 'I see how it is'.]]

Spock has Tribbles all over his desk and one is in the sensor scope ❤️❤️❤️

[clockwrkpendrxgon]

2024 Year in Review: Writing Round-Up

This is my first ao3 year in review, and I just wanted to say how grateful I am for every bit of love my stories received this year 💕

My details:

My ao3: clockwrkpendrxgon

My fandom: Red, White & Royal Blue

Total no. of fics in 2024: 8

Total word count: 185,081

Oneshots (5):

🖋️ This could be us: (4,436 words, E)

I remember going feral over two specific nsfw fan art pieces and then I was like: okay what if alex was the one who saw them and wanted to try them out? that’s pretty much what this fic is all about ahahaha (i’m so grateful for han and eve fr)

🖋️ Total eclipse of my heart: (7,005 words, G)

This is one of my fave roommates au’s I’ve ever written! And I was so happy that it received so much love and was a remedy for some who went to get their wisdom teeth removed 🥰

🖋️ More Valuable Than Jewels: (10,022 words, E)

GOD THIS STORY. It’s so dear to me, and I was kind of a little disappointed bc it didn’t do as well as I expected :( but it’s okay I guess, because I had so much fun writing Henry pining for Alex in a Bridgerton-esque setting hehe 🤭

🖋️ Bruised Like Violets: (6,254 words, E)

UM THIS ONE WAS A SURPRISE. like i was obsessed with the idea of jealous henry, but i wasn’t expecting so many people to be as obsessed too sjdksjs (not to mention the 🌶️) so yeah i’m happy with this one lmao

🖋️ Wishing On Orion: (23,035 words, M)

another one that is so SO so dear to me like you have no idea. childhood friends? ✅ teenage crush? ✅ one sided love that’s not one sided after all? ✅ it was so wholesome to write henry and alex in an entirely different universe where their families grew in each other’s presence. henry going through his father’s illness with alex by his side… it was something I needed them to experience 🥹 unfortunately, this story didn’t get as even half the love any of my other stories usually get, so it was a punch to the gut but we ball!!

Multi-Chapters (3):

🖋️ Like the Stars Miss the Sun: (23,324 words, M)

The prologue to this story is like nothing I’ve ever written, and I’m so proud of it because this was the first time someone has ever wanted to make art for my fic. (please look at this beauty). the idea of firstprince being lovers in heaven, then being forcefully separated and cursed into oblivion as mortals on earth who have no recollection whatsoever of their past life and love? count me tf in! also check the incredible character profiles mariam did of angel henry and alex 🥹

🖋️ Reserved For Me: (35,836 words, E)

this story was so unserious 😂 like it was a 50/50 gamble for me. people are either going to hate it or absolutely love it and i’m so thrilled it was the latter 😂♥️ i don’t usually dabble with OCs in my fics, but this one time it turned out affectionately hilarious and everyone loved Emad (including me lol) it was so fun basing this fic on a local movie and making henry and alex visit real life locations here where i live and imagine what their experiences would be like 🥹♥️

🖋️ A Bullet to the Heart: (75,169 words, E)

My first ever participation in a big bang, the longest work I’ve written so far in the rwrb fandom, and also my first time writing a spy au! Writing this story wasn’t easy, because I wanted to capture the essence of Henry and Alex’s characters in a world that’s so different from the book, and I think I did alright :) I loved exploring the lengths to which Henry’s grief for his father would go if placed in different circumstances. I also loved writing the action scenes for this fic because I’m such a visual reader, so like- if the image doesn’t immediately flash in the reader’s mind when they read my works, then I’ve fallen short of what I’m doing. I expected this story to do much better than how it did, but I’m also grateful for everyone who gave it their time 🤍

Upcoming fics:

Uhhh, I usually like to keep these a surprise so I don’t end up overpromising 😂 BUT since I have a couple of chapters outlined, we’re getting prince henry x head of security team alex (here’s the prompt) it’s going to be absolute shenanigans!!!

Thank you to @0npurpose and @thesleepyskipper for tagging me in your writing round-ups, I’m so proud of you 🤍

Tags (no pressure ofc!! 💗) :

@kj-bee @firenati0n @ash-morrison @caterpills @miharaikko @theprinceandagcd @blueeyedgrlwrites @anincompletelist @henryspearl @magicmelinoe @milowren29

Lastly, I’m so grateful for the wonderful friends I’ve made along the way, and I can’t wait to witness what everyone in this incredible fandom brings in 2025 🥳✨♥️

[beanghostprincess]

Usopp obtaining Conqueror's haki makes so much sense to me and I genuinely think he deserves it on Elbaf please please please

[ayrennaranaaldmeri]

working on a gifset and can i just say phia saban the ACTRESS THAT YOU ARE:

the sharp fucking turn when he's like wubuwbwu its a lieeee, the withering looks she gave him. it was excellent.

[badolmen]

I can fix him*

*bad writing, underutilized gameplay mechanics, characters with unfulfilled potential, funded by bootlickers

[tenok]

.

[fragglez]

every time I watch a war related movie and they play the reveille i get spooked i HATE that melody

[capriszn]

almost every cdrama i‘ve watched could have been a 10/10 if it wasn’t for those last ten minutes packed with the entire finale like every single one without fail got that rushed ending…. why do they keep doing this to me stop