#most writers write from a source of emotion

[goodluckclove]

A Meandering Insight into Writing Stronger Dialogue

So I'm taking it easy today. It's cloudy in Portland and I would like to do some drawing. But I also thought I would do a weird new thing for me and maybe offer some writing advice into the void about creating stronger dialogue.

I've said before that I am easily angered by how most writing advice is phrased. At the same time, I get that for a beginning writer, my go-to guidance of "watch movies, read books, figure it out" can be like crazy intimidating. So I'm going to try and be more flexible. It might be helpful, it might not be.

There are a ton of information available about writing stronger dialogue. I've looked at a few videos and found an amount of useful tips. Listening to the way people talk is super useful, and eavesdropping on conversations in public places (without being a creep about it) is a super great way to do that. But for the most part I came away realizing that people giving advice on stronger dialogue are, almost entirely, just crazy biased.

Even the concept of "writing stronger dialogue" is - somehow both complicated and vague. It's dependent on genre. It's dependent on the era, the laws of the universe and the whims of the narrative as a whole. I can think of many examples in which part of what makes a story stronger is the fact that the dialogue is what some would consider "weak". One of the videos I watched had a man use Tommy Wiseau's The Room, a famously incoherent cult movie, as an example of bad dialogue.

And he's absolutely right! Part of the mystique behind the film and it's director/writer/producer/lead actor is that Tommy Wiseau insists he's born and raised in the United States, despite that just. Not being possible. So when he writes a script it turns meandering, disjointed, confused and deeply melodramatic. But when this well-meaning YouTuber revised a scene to be "stronger" in terms of dialogue between the two actors, it turned The Room from longstanding classic that still has ongoing showings at arthouse movie theaters, to some mediocre indie movie with nothing that really captures attention. It's clearer and more direct. The video creator claimed it was likely what Tommy Wiseau's original intent was. I would argue Wiseau's intention also involved a sense of soap opera emotional highs and lows - a tone that is not served a bland, weirdly subdued script revision.

I think asking "how do I write stronger dialogue" is a question a writer can only answer from within. The question to ask outside parties, perhaps those with more experience in the craft, is "how do I write dialogue that works better to fulfill my goals and the goals of my story"? You might not like the way I write my own dialogue, and that's fine. But it absolutely does what I want it to do, so I'd say the second question is one I can try to answer.

Be Honest With the Reader - And With Yourself

This is not an easy thing for me to do, but I'm going to have to call out a quirk I see a lot of newer writers do. I do it with love, because it's something I did myself a lot when I was starting out. You start writing and you form a character who's really cool, but they're also smarter than you are! Or funnier! Or more charming! What do you do???

It's an easy issue to face, and every time I see it I want to sit down with the writer and tenderly say Shh stop it. Change the character, the approach to the scene, or your perspective on how you write them. Stop going the way you're going it is almost certainly not going to be interpreted the way you want it to be.

It's the worst when I see people struggle with a character they view as "funnier than them". And they might try and crowd source for tips and tricks on how to be funny. And while I can see this potentially being a jumping off point to something useful, for the most part I find myself wanting to scream HEY DONT DO THIS THIS IS NOT HOW IT WORKS.

I'm not gatekeeping being Funny. I'm saying straight up that I truly think every human being has some sense of humor, even the ones that have been told enough by others to internalize that they "aren't funny". You are! If you have ever made yourself smile or laugh, you are funny! And more people than you think will also find you to be funny!

Humor is incredibly varied. Because of this, there is a Lot of comedy that will probably do nothing for you. You might be numb to prop comedy, for instance. So if you tried, unironically, with full sincerity, to write and perform a new prop comedy routine, it would very likely not turn out well. I personally am pretty attuned to inauthenticity in writing, and it's the easiest way for me to toss a book (or my whole TV if it's a movie or show) right out the window.

If you want to learn more about writing comedy, start with what makes you laugh. If it's something someone else wrote, maybe look into what that person says about comedy. The person who made you laugh will know more about helping you write comedy than a stranger online who might have an entirely different sense of humor.

Write What You Have a Frame of Reference For

I got told "write what you know" a lot when I was starting out. Usually by people that weren't writers, which makes sense, because that phrase is trash and it made me so angry. Because at 13, when I seriously started writing, I didn't know a ton of stuff. So feeling like I was that limited created a sense of distrust in myself that is just not helpful when you're starting out.

But if you rely on what you have a frame of reference for, things get a lot vaster, and only more expensive over time. You might not know anything about going though a divorce, or becoming an assassin, or turning into a vampire. But maybe you've had a falling out in a relationship, or you've started a new job in an industry you're unfamiliar with, or you've felt lonely and isolated and scared. If you focus on the latter, the way you connect to the circumstances on the narrative, it's way easier to craft compelling characters.

This is debatably less crucial for more experienced writers. I personally, after 10+ years in the medium, still find crucial to have some kind of investment and connection to every character I write, even if they're bad people.

If a character is smarter than you about a certain subject, don't focus directly on that. They're an expert in Quantum Biochemistry? Oh man you know anything about that. So if you aren't confident in your ability to learn and absorb enough on the field to have it be a plot-crucial element, maybe you're light on the references to that characters background and career in exchange for a greater emphasis on something that you have a better grasp on. Or you can narrow the scope - maybe your quantum biochemistry expert is a professor or a researcher, two careers that might be far more accessible. In many cases, micro is more impactful than the macro.

What you're able to do will naturally grow as you grow. And when you're starting out, you should absolutely feel welcome to be overambitious. Take risks, do something new, fuck up spectacularly and don't let that stop you. But if you're looking to improve something like dialogue, I would say it comes down the angle of the character that allows you as the writer to connect to them. Even if you don't agree with their actions. Even if you have nothing else in common with them. If you get some connection that makes the character something other than "person more interesting than I am" it becomes a LOT easier to write for them.

Also maybe don't take a majority of dialogue advice from people who exclusively engage in books and movies you hate. Don't do that. It doesn't matter they they went to film school. They will probably not help you.

[dawnsfragrance]

I regret to inform that I’ve been afflicted with the I can’t write about love unless it’s heartache syndrome

[pubbamoon]

Your The Most Suitable Career Path Based On Your Destiny Matrix Chart

Hello! It's been a while since I've made the last observation here on Tumblr, two weeks I guess. I think it's time to make an observation I promised you to do. So, this post will be about your possible career paths based on your Destiny Matrix chart. I've been thinking about making this kind of observation ever since I've made a post about an ideal partner based on the Destiny Matrix chart. Take what resonates and leave what doesn't. I hope you'll enjoy it.

For those who doesn't know, there's a money line in the Destiny Matrix chart right after the love line. It is also formed by three numbers and it represents career, profession, how we can make money etc. The second number from this line, which is the closest to the dollar icon/emoji, is the most important number if you wanna look for your career path. It can represent which career path is the most suitable for you and that kind of stuff.

I'm about to give you an example of that. I marked the adequate number with the black color, which is the number 5 in my case. So, the number close to the dollar icon/emoji is number 5, meaning that I should use characteristics of The Hierophant arcana to maintain my career path. I really hope it's understandable.

Now it's time to describe each number and your possible career path!

1 (The Magician) - The Magician is a powerful card which represents manifestation, having all the knowledge and being the jack of all trades, which makes sense because this card is related to the planet Mercury. So, I think you might be successful in any field you can imagine yourself to be. Number 1 is ruled by the Sun in numerology, meaning that you might be very ambitious in your work environment. A great placement to have an own business or to have many sources of income.

2 (The High Priestess) - A number 2 is being ruled by the Moon, which can mean that you might choose your profession based on your emotions, gut, intuition or instincts. I think that you should do something that you love to do, because if you do something because you have to, it might not be good for your health in general. I can see you as a psychologist, healer, nurturer, nurse and in every field where you help other people. This arcana is ruled by the planet Moon itself.

3 (The Empress) - This card is connected to the planet Venus, which means that you may find success in creative pursuits, negotiating, partnerships, collaborations or expressing your feminine energy in general. Number 3 is ruled by Jupiter which represents luck, expansion and abundance, so you might have an expansive and successful career, but it depends on many other factors. Being a writer, artist, singer, model or having an own business in related fields might bring you success.

4 (The Emperor) - There is a huge leadership energy going on here. Any career where you can be a leader/CEO might be successful to you. Number 4 is ruled by Rahu in Indian numerology (or by Uranus in western numerology) which represents ambition, massive success and fame, while the Emperor itself is related to Aries sign, which explains the leaderships energy I already mentioned. You should use your masculine energy while striving for success, no matter of your gender.

5 (The Hierophant) - Number 5 is ruled by Mercury which represents fields related to communication, writing or teaching. The Hierophant card is associated with Taurus sign, so you might seek for the stable and traditional career path, since this card is related to tradition, spirituality and conformity. I see many of people having this arcana becoming a successful singers, or someone who has an influence over people. Being a lawyer, priest or (spiritual) teacher might also be fulfilling career options for you.

6 (The Lovers) - Number 6 is being ruled by Venus, which means being involved in artistic pursuits in this case. You might also become successful if you use your social and communication skills, since The Lovers card is associated with the Gemini sign. Being a musician or working in publishing, broadcasting on TV and writing might bring you success and money. Working with other people is crucial for you as well.

7 (The Chariot) - This is another ambitious arcana with leadership capabilities. Number 7 is being ruled by Ketu in Indian numerology (or by Neptune in western numerology), making this number very spiritual. But The Chariot card is associated with the Cancer sign, a cardinal sign which is related to movement. You could be a leader in any kind of way, even a spiritualist. Since this card represents victory, it's likely possible that you may succeed in your profession.

8 (Justice) - I always present the Justice as the 8th card, because this number is ruled by Saturn which is about balance and organization, while the Justice card is related to Libra sign. Saturn is exalted in Libra, which makes sense. The first thing that cross to my mind when I think about this arcana is law, so being a lawyer could be the adequate career option for you. I feel that you might be serious-minded in your work environment and work in a field where there has to do with paperwork or contracts. This arcana is giving me a hard-working energy, you might have a sense of working in teams and collaborating in general.

9 (The Hermit) - Your career path might seem to you as lonely or you might do everything by yourself, since this card represents solitude. This card is connected to Virgo sign, meaning that you can use your analytical skills in your career. You can be an economist, a programmer, a chemist, a scientist, an engineer of something or work in fields where you can use your wisdom, which this card is actually about. Number 9 is ruled by Mars in numerology, so you may also be very competitive in your work environment. Take what resonates.

10 (Wheel of Fortune) - I don't really have a point about what you can do with this arcana, I think that you can do almost everything with this arcana if you have it in your money line. This card is associated with Jupiter, which means that you might have a expansive and prosperous career. Seasonal jobs might be a thing for you. Working in entertainment industry could also be your lane. By saying the entertainment industry, I mean working as a singer, actor, entertainer, movie director, producent or even a content creator.

11 (Strength) - Number 11 is considered as the master number in numerology and is related to a higher purpose. This could mean that you might choose a career path where you can help and guide others. You could be a powerful motivational speaker, social worker, life coach or something like that. Since there's an animal in this card, it might mean working with animals, for example, being a vet, or a dog trainer. This card is associated with Leo sign, so you might also work in creative pursuits, entertainment industry or as a babysitter.

12 (The Hanged Man) - Whenever I hear about this arcana, the first thing that comes to my mind is spirituality. This card is ruled by the planet Neptune, which represents spirituality in modern western astrology. Being a psychic medium, a prophet or just a spiritualist might be fulfilling for you. You might work in any field where you can share your wisdom. The problem is that you may tend to sacrifice a lot for your career, since this card is all about sacrifice. The negative side of that could be becoming stuck in your toxic work environment, because in this card, there's a man being trapped and unable to move forward. Be aware if that!

13 (Death) - Your career or profession might transform other people's lives or their own life perspective, since this card is related to Scorpio sign. Being a therapist could be a good career option for you. Working as a funeral director, a forensic scientist where you can investigate the criminal cases or even as an archeologist might also be suitable for you. Even if you do something completely different, that field might be something you are passionate about, 'cause Scorpio is associated with the passion itself.

14 (Temperance) - You might put yourself in a position where you can help and heal others. Working as a doctor, a nurse, a pharmacist, psychologist or a therapist could be very suitable for you. Temperance card is associated with the Sagittarius sign, so you're someone who can teach and guide other people, 'cause Sagittarius is a moral sign which is about looking for the right ways to live a life. You can influence and heal a lot of people with your public presence or with your work.

15 (The Devil) - This is telling me that you might choose a career path which could be very risky. This card is ruled by the Capricorn sign, so you might use the dark side of yourself in order to succeed, since Capricorn is a very dark sign. You could work as a Casino worker, business owner, sex worker, stockbroker, investor, musician, police officer etc. You might yearn to earn money in a fast, maybe even in an unethical ways. I see you choosing a career where you can make a lot of money in general.

16 (The Tower) - This card is all about destructions, extreme ups and downs and spirituality. It's connected to the planet Mars which also represents similar things. You might become successful as a spiritual leader or doing some extreme work, such as firefighter, surgeon, policeman, archeologist etc. It might be hard for you to keep being consistent to your work and you'll never know which obstacle might be next to come to you, 'cause this arcana is about extremes. You might be extremely motivated and productive or extremely tired and unmotivated.

17 (The Star) - Well, I think that the name of this card tells everything. With this placement, you might work in any field where you can express yourself and to stand out from the crowd. This card is related to the Aquarius sign, so you may attract a lot of attention from other people. You can be a singer, musician, actor, model, photograph, graphic designer, content creator or just working in the entertainment industry. This is a very creative placement.

18 (The Moon) - This is another placement which indicate working in creative fields, but you might rather work behind the scene, which kinda makes sense because this arcana represents mystery and illusions. It is associated with the Pisces sign, which is a very idealistic, selfless and creative sign, so you might also work as a musician or an actor. You might also work in a spiritual field, such as tarot readings or selling crystals. I can also see you working as a social worker and as a therapist.

19 (The Sun) - You could work in any field where being at the center of attention is crucial. Putting yourself in a spotlight might be a great option for you. I can see you being an entrepreneur or a performer. Leadership energy is relevant here. I don't know if you are comfortable in putting yourself out there, but if you have this arcana in your money line, then I think you should try it, you can be successful by doing that. This card is ruled by the planet Sun (do I even have to say that?).

20 (Judgement) - I feel that you can work in every field where you can criticize or analyze several topics. This is a great placement of being a lawyer, judge, presenter, music critic etc. This card is associated with the planet Pluto, which represents transformation, so you might change the people's way of thinking with your career. This arcana is also about ancestry and family, meaning that you could work in your family business or as a caregiver.

21 (The World) - This is an obvious indicator of a career path where you can travel all around the world. Being a travel agent or an anthropologist might be significant. This card is related to the planet Saturn which does represent organization and structure, so you might need to be organized in order to become successful in your field. You could also work in a tourism industry as a hotelier. You might connect with a lot of people with your profession by using your open mind in general.

22 (The Fool) - You might use the profession that is very risk-taking and unconventional to societal norms. Mind you that this card is basically ruled by the planet Uranus, which tells a lot. I see so many people with this arcana in their money line who work in the entertainment industry as a singer, actor, comedian or presenter. There could be bunch of field where you might work in, 'cause you cannot bound into one particular category. You might also work as an astrologer, business owner or be a self-employed in general.

Whoa, I finally made this observation until the end! I hope you enjoyed it and that you can resonate with that. If you want to deepen down in your Destiny Matrix chart, then you can book a private reading with me. I've published pre-recorded video readings and one-on-one readings on Zoom. The first three offers of mine are text-related readings (those offers which are categorized as Western Astrology, Vedic Astrology and Matrix of Destiny are text-related). Anyways, I hope you liked this observation. Wish you all had a beautiful week ahead. Bye for now and see you very soon!

Best regards, Paky McGee

[diejager]

God! I love dark price, please write a part of dark price and reader with his son (I want a mini price 😔) I think it would be a boy 😅 but I'll leave it up to you <3 have a good day, best writer on Tumblr <3

Cage Cw: forced pregnancy, forced relationship, MENTION OF NON-CON/DUB-CON, DARKFIC, tell me if I missed any.

“Mama! Mama!” Two, childlike voices called out to you, their tones light and jovial with a child’s innocence, untainted by the horrors of the world.

Rapid pads followed after their screams, running steps heading your way as you turned to look at the source, putting down the knife you used to cut the ripe and fresh carrot for supper. Two pairs of hands grabbed at your pants, wide, blue eyes staring up at you with joy and wonder in their pretty eyes, they begged for attention.

You loved them. You truly did. From the lingering fat on their three-year old cheeks, their round, doe eyes in a stormy, blue shade, their chubby limbs and fingers holding onto you to the soft locks in the shade of your hair. From the adorable behaviour, pliant and obedient, always eager to listen to you if it meant receiving praises and kisses from you, to the innocence in their being, untouched by the cruelty you’ve seen when you were still working. But everything about them reminded you of him, of their father, of your husband. Your boy and daughter were spitting images of their father, only with your shade of hair.

“What wrong?” You crouched to their height, thumb rubbing the blue ink off the fat of your daughter’s cheek with your clean hand, you’d left the both of them in the living room with a box of coloured pens and paper to draw with.

“Hungry, Mama,” Olivia moaned, clutching her shirt with an adorable pout, reaching for her brother for help to convey her hunger.

You cooed at her, picking the both of them up, bobbing them until they sat comfortably on each side of you, arms wrapped around your shoulder as they cried and moaned about being hungry, about their tumtums making sound. You put them on separate chairs, handing them a small cracker to eat while your finished making your soup. Olivia and Arthur - you precious twins - liked the bland crackers, wanting something to bite into while their teeth grew, to stop the itch and discomfort of growing teeth.

“Mama’s almost finished, it’ll be done once Dada’s home, okay?” Your kids were smart, they understood words that most wouldn’t at this age. You chalked it up to them having your husband’s genes, his smart and quick decisions made it nearly impossible to beat him in a battle of wits, you learned that the hard way.

As if summoned by your voice, you heard the lock click, announcing your husband’s return from work. Hearing their father open the door, Arthur and Olivia jumped off their seats and rushed to the door, smiling and giggling, overjoyed to see their father home after leaving early in the morning. He bent down to kiss them, bringing them into his chest and blowing kisses, a few dozen on their forehead, another dozen on each cheek and a few on their pink nose, small and adorable.

“Go on, give Ma and Pa a moment, yeah?” He smiled softly, petting them on the head before coaxing them away, wanting a moment to hold you on his own.

He pulled you towards him, hands grasping onto your hips, strong and unyielding in his hold. He pressed his lips to your cheek, slowly trailing down to your lips with a searing and possessive kiss, demanding your attention and whole being. He nipped at your lip, teeth biting on your lower lip until you let out a small whimper, audible to him and you alone, protecting your children from Price’s darker side.

“John,” you mumbled, panting when he pulled away, your lips swollen from his rough kiss.

When you tried to move back, you were stopped by his grip on your nap, unaware that his hand snaked up to hold you still, keeping your face near his. His stormy eyes brewed with a cyclone, a violent and powerful torrent of emotions that had you shudder in fear and apprehension. He was strung high, pulled tight on the edges, his nerves burned to its core without any relief for him to come back down. You knew you would have to help him relax, to surrender your body to his whims.

“Let’s… let’s just eat dinner and get the kids to bed first, all right?”

Taglist: @sae1kie @yeoldedumbslut @tallmanlover @distracteddragoness @vxnilla-hxrddrugs @konigsblog @havoc973 @im-making-an-effort @daisychainsinknots @0alk0msan @danielle143 @dont-mind-me-just-existing-sadly @tuttifuckinfruttifriday

[literaryvein-reblogs]

Writing Tips: Prose

If you want to improve the quality of your writing, the best place to start is with the fundamentals. These valuable tips can help you learn how to write better and elevate your creative output.

Tips for Writing Engaging Prose

Use these writing tricks and tips to elevate your prose:

Don’t worry about your first draft. A lot of writers fall victim to writer’s block at the very beginning of a project. It can be hard to start writing when you’re staring at a blank page, not sure exactly where a piece will end up. At this early stage, it’s best to put aside perfectionism and just get your story idea down on paper. Start out by freewriting with a writing prompt or by building an outline. This can help you gain the confidence you need to complete a draft.

Cut the fluff. Editing can transform good writing into great writing. When editing, look for scenes that don’t advance the plot, overly long descriptions, and anything that won’t sustain a reader’s attention. Whether you’re working on short stories, business writing, content marketing, or nonfiction essays, try to match the word count of similar published pieces.

Rewrite, then rewrite again. Most great writers consider rewriting an integral part of the writing process. Writing a scene multiple times in different ways can help you distill these different attempts into the best writing you have to offer. Rewriting helps you work out any parts that don’t make sense or are illogical, which will help your writing sound smarter and more considered.

Read your work out loud. Reading your work out loud will almost certainly make you a better writer. Embarrassing as it may seem in the moment, speaking the words out loud is a great way to notice the rhythm of your sentences and catch any unintended repetition or awkward word choices.

Learn how to hook your readers. Your hook-writing style will depend on whether you’re a fiction writer working on a novel or a copywriter blogging for a company, but every good writer has a strategy for generating interest. Try starting your piece with an emotional scene or a surprising statement. The important thing is that your first sentence, scene, or page creates questions in your reader’s mind, encouraging them to keep reading. Beware of the obvious hook—spend time coming up with a thoughtful, unique hook that will make your writing sound smart, not gimmicky.

Write concisely. Short sentences with simple words tend to sound smarter than long sentences full of big words. You don’t have to sound like Ernest Hemingway, but you should try cutting unnecessary language from your text. Often, it will make your piece more concise and authoritative.

Use the active voice. When writing in the active voice, the subject of a sentence performs the action. Passive voice sentences contain subjects that are the object of the sentence’s verb. They are not the “doer” of the sentence; they are the recipient of an action. Sentences constructed with the active voice use fewer words and are easier to understand.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[nthspecialll]

A reliable souce

When you play red dead one after having played red dead two it is possible that you will feel a kind of split between how Javier was and how Javier is described, and while most writes it off as a mistake on the writers side, there is a point I have seen a few others bring up which I think is amazing to keep in mind, that point being John's reliablity.

In rdr2 John and Javier are friends, they have gone through a lot together and they lean on one another when thye face troubles, however they meet a betray in chapter six which completely changes their dynamic and their friendship. Suddenly they no longer drink together around the campfire but give one another the cold shoulder.

It is obvious that John is no longer fond of Javier and that is naturally going to affect how John describes him because John is not a reliable source, he is not able to remove his own emotions from his describtion and thus it might come out worse than how it actually was.

Abigail describes Javier to be "creepy" and really there only is one interaction in chapter six that I have seen people desribe as creepy. I personally don't see it like that, but if she did then that one creepy incident could quickly be how she sees him due to that worsened opinion of him.

In short, neither of them are objective neutral sources.

[kanmom51]

https://www.tumblr.com/kanmom51/712812388735418368/is-letter-a-song-for-army-the-baby-jm-never?source=share

I was going through this particular post and felt emotional...

Jm really calls jk baby isn't it?? We saw in the show too...things are slowly falling back to places just like many had doubts like why would the two bandmates supposed friends or the worst "not good mates, hate eachother so much to breathein the same place" travel to countries shooting a show in their last moment of freedom instead of laying happily beside their supposed gf or bf right.

They did tell us indirectly that they are together in their life without saying anything...just like everytime they did...

Hey there. :)

This is the post you linked:

Just read it again and ok then, what can I say, I am impressed. Quite the talented writer whoever wrote that one.😜

But seriously, am I a fortune teller or what? This was way before we even dreamt of a Jikook travel show giving us 9 hours more or less of authentic Jikook interactions. I'm not going to say uncensored, because there was clearly some censorship going on, at times on their part (awareness of cameras) and at times from the editors. But man, even with all of that, now that we are on the other side of this show you need to be really daft not to see they are telling us they are a couple. And if the show didn't convince us, well, this HAD to:

Oh, and JM calling JK baby... lol.

You know, like he did while talking to him in Letter...

Admit it.

You weren't surprised, right?

Only surprise was that once again it was allowed in.

But then again, purposefully so.

I know many are calling it a soft launch and well maybe you can call it that. But I would rather not label it. I will just sit here and enjoy what they have given us, which is so so much.

In this show we basically got first and foremost JM and JK telling us and showing us that they are, without a doubt, the closest duo in the group of 7. This comes on the tail of a couple of years where oh so many were claiming and reveling in what they thought was an apparent distance between the two. Apparent to those that for some reason think that these young superstars live their private lives for us to fully see. I guess (more so hope) that those ideas were laid to rest. And that for once and for all people finally realize that the two actually have a private life that we are not fully aware of. That the two spend time together even if we don't hear about it. That the two were and still are super close - intimately close.

And that takes me to my next point. It's not that the show revealed something that we weren't aware of when it comes to the level of intimacy between the two of them. It's not that they hadn't told us all of this over the years. It's that people were unwilling to hear it or see it and with the show we got to see it, 9 hours worth of it. Them on their own and them with their good friend that insisted on joining and was for most part allowing them to do their own thing. Not only did Tae's presence not disprove Jikook's closeness and intimacy (something many were hoping for), it actually highlighted it. It highlighted just how different, how much MORE JM and JK are with each other as opposed to either of them with Tae. Even when the three were spending time together (and I say even because much of the time Tae just left them to do their own thing or even if he was with them).

So yes, this was them allowing us to see just a little bit more of THEM. Together. The playfulness, the chemistry (again, something we were "warned" about in the promos - their known chemistry...), the way they just flow with each other, JK clearly being JM's cook (we get that in words and actions) and so much more.

I am not a fortuneteller and as such I can only write in hopes and wishes. I do hope and wish that this is them setting a new reality for the fandom. Yes the fandom should have caught on by now just how close they are. They basically never hid it, even if at times they pulled back with what we were shown (for many many reasons, some personal some towing the company line). But I am really hoping that post AYS Jikook will indeed be louder in the sense that they will allow us to continue and see THEM without the pullback we got at times. Because Army will accept THEM and embrace THEM. That the Jikook we get post military will be able to mention one another and it will be a new normal, not an eyebrow raising event. That JK won't have to say he'll get his toiletries and go over to shower at JM's because they will be living together in JK's new mansion. That they wouldn't have to hide it because people would finally accept them for who they are and who they love.

[saintsenara]

Thoughts on Ron and Hermione as a ship?

thank you very much for the ask, @thesilverstarling!

i’ll state my position straight away: book ron and hermione are the best of the canon couples.

they will have a long and extremely happy marriage made rich by great and stalwart love, lust, fun, and faithfulness, rather than held together by duty and couples’ therapy like so many readers and authors (including jkr, who seems to have decided to spend the years since the conclusion of the series failing to understand anything about her own characters) tend to think.

i will state another position straight away: lest i seem like i’m just a fan with blinkers on, i think this even though hermione is, by far, my least favourite member of the trio. if she were real i would detest her, and i dislike how she is treated by the narrative as always justified in her negative characteristics. i like fanon hermione - perfect and preternaturally good - even less.

as a result, i think that it’s ridiculous that jkr has said that she thought ron needed to ‘become worthy’ of hermione. they belong together as equals - which is what they’re set up in the narrative as being from the off - and i hate seeing that undermined.

because ronald weasley? he’s an icon. and he doesn’t get anywhere near the respect he deserves in fandom.

there are multiple reasons for this - ron’s narrative purpose is to be the everyman sidekick, and so he is able to be less special than harry or hermione (the helper-figure); the amount of aristocracy wank in this fandom means that the weasleys’ ordinariness is less appealing to writers than making harry have twenty different lordships and call himself hadrian; the narrative interrogates ron’s flaws - especially his capacity for jealousy - much more intensively than it interrogates either hermione’s (cruel, inflexible, meddling) or harry’s (reckless, self-absorbed, judgemental) - but one i feel is particularly significant is that ron is such a british character that many of his traits are not understood as intended by non-british readers.

in particular - as is outlined in this excellent meta by @whinlatter - ron’s sense of humour isn’t indicative of immaturity or a lack of seriousness, but is, in fact, evidence that he’s the most emotionally aware of the trio.

ron is shown throughout the series to understand how both harry and hermione need to have their emotions approached - and i think there is no piece of writing which says this better than crocodile heart by @floreatcastellumposts:

That was what she liked most about Ron, she thought vaguely. He was very good at being suitably outraged on your behalf. For Harry, for her, for Neville. That sort of thing mattered, when you were hurt or embarrassed or wronged in some way. You needed to have someone else on your side, to be as emotional as you felt, maybe even more so, so that you might feel a bit more normal. It was very decent of him, and she was not sure he realised he did it.

ron’s inherent emotional awareness is an enormous source of comfort to other people. he does the work which isn’t flashy or special - he makes tea and tells jokes and is just there - but which is needed in healthy human relationships far more frequently than a willingness to fight to the death for the other person.

[as an aside, this normality - even though i think it is assumed rather than justified by the text - is also what ginny provides for harry. if you believe that hinny are a good couple but romione aren’t… i can’t help you.]

but let’s look at some specific reasons why ron and hermione belong together:

their communication styles mesh perfectly. ron is the only person hermione knows who feeds her love of being challenged and debated, and who is able to engage in this way of communicating without becoming irate when she refuses to back down. ron is good at picking his battles, but he’s also good at recognising that hermione’s tendency to argue isn’t intended to be confrontational a lot of the time - it’s just the way she works through feelings and problems. he’s far more easy-going about her tendency to nag, interrupt, try to provoke arguments, or speak condescendingly than he’s given credit for - and hermione evidently respects this, since when he does tell her not to push a situation (above all, when she’s trying to needle harry into talking about sirius), she listens to him.

that ron and hermione’s tendency to bicker is taken by fans to be a bad thing is because it’s something harry - from whose perspective the narrative is written - doesn’t understand. harry is extremely conflict-avoidant - he tends to take being pushed on views and opinions he has to be insulting; and he has a tendency to assume that he is right which is just as profound as hermione’s. he and ginny communicate not by debating, but by ginny having no time for his rigidity and refusing to indulge it - but ron and hermione bickering about everything is not a negative thing within their specific emotional dynamic.

[as another aside, this glaring chasm in communication styles is why harry and hermione would be a disaster as a couple.]

they each provide validation the other needs. it’s clear - reading between the lines - that hermione is a tremendously lonely person. the friendlessness of her initial few weeks at hogwarts seems to be a continuation of her experience as a child, and - outside of ron and harry - that friendlessness endures through her schooldays. i’m always struck, for example, by the fact that, when she falls out with ron in prisoner of azkaban, she has no-one else to spend time with, and that this is only avoided in half-blood prince because harry decides not to freeze her out. i don’t think her friendship with ginny is anywhere near as close as fanon seems to imply (ginny has no interest in being nagged either), nor do i think that she’s anywhere near as close to neville (not least because she is so condescending to him) as she’s often written to be.

and this loneliness seems to stretch beyond hogwarts. the absence of hermione’s parents’ from the narrative is - in a doylist sense - clearly just a device to maximise time with the trio all together, but the watsonian reading is that she doesn’t have a particularly good relationship with them. hermione’s obviously upper-middle-class background - the name! the skiing! the holidays in the south of france! - can be presumed, i think, to come with a series of expectations from her parents which she feels constantly that she’s not entirely meeting, particularly expectations attached to academic success.

[for example, the grangers - were she a muggle child - would undoubtedly have ambitions for her to attend an elite university and then go into a prestigious career. tertiary education of the type that they’re familiar with doesn’t seem to exist in the wizarding world - most careers seem to be taught by apprenticeship - and this, alongside all the other divides between the magical and muggle worlds which contribute to the distance between them, would be one very obvious area in which she felt the need to prove herself to them.]

ron, too, has quite a difficult relationship with his position in the family - voldemort’s locket is not wrong to point out that he seems to receive considerably less of his mother’s emotional attention than ginny or the rest of his brothers - and he too is constrained by expectations which he doesn’t know how to explain he has no interest in - above all, molly’s desire for her sons to achieve top grades and go into the ministry.

he also suffers while at hogwarts from being ‘harry potter’s best friend’, something which harry never appreciates. but hermione does. she recognises ron’s jealousy and never allows harry to minimise it (and she and ron are very much aligned on having no respect for harry’s saviour and martyr complexes). she appreciates ron’s strengths - above all his kindness and his sense of humour - and makes him feel as though he’s achieved things with them. and ron does the same for her; he is hugely observant when it comes to her, and he challenges and defends her.

the two of them clearly spend a lot of time together one-on-one while harry’s involved in his various shenanigans (including outside of school - hermione has often arrived at the burrow days or even weeks before harry, and they seem to write to each other frequently when apart). they do this within a relationship which is fundamentally equal. one issue with hinny is that, post-war, harry is going to have to get used to seeing ginny as a peer, rather than as someone he has to protect. but ron and hermione never have that issue - equality is baked into their relationship from the off.

because, to be quite frank, fandom overstates the role that jealousy plays in their relationship. it’s true that ron certainly doesn’t acquit himself brilliantly when it comes to hermione’s relationship with viktor krum (it’s because he’s bi and doesn’t know it yet), and a tendency to externalise his insecurity into trying to make others also feel insecure is one of his primary negative traits (hermione does this too, via her patented lofty voice when she’s trying to condescend to people). but this is often taken as the initial red flag for how the relationship would crash and burn, and ron’s toxic jealousy is often used in fan-fiction as the trigger for emotional and physical violence towards hermione which, frequently, seems to drive her into the arms of either draco malfoy or severus snape… who are, of course, the first people we think of when we hear the words ‘not prone to jealousy’...

but i think it’s important to point out several things in defence of ron’s jealousy over krum. firstly, hermione evidently regards his jealousy as ridiculous - she’s upset by it, yes, but her upset must be understood as being caused by the fact that she wanted him to ask her out. she doesn’t think he’s being possessive, she thinks he’s being stupid. secondly, hermione is equally as jealous over ron’s crush on fleur delacour and relationship with lavender brown. she behaves just as cruelly when it comes to lavender as ron does when it comes to krum - and the narrative only treats her actions as more sympathetic or justified both because harry dislikes lavender too, and because, by that point in the series, jkr has dispensed with any inclination to ever criticise her.

but, outside of this teenage pettiness, ron is never jealous of hermione over things which matter. he is never jealous of her intelligence or competence or ambition or success (indeed, he defends her constantly from attacks designed to undermine her in these areas). for someone who struggles with being overshadowed by harry, he is never upset at being overshadowed by her. he is clearly going to be happy to support her in any of the career ambitions she can be written as having post-war.

and, on this point, i think it’s worth interrogating why so many readers still seem to feel uncomfortable with the idea of ron and hermione having a dynamic where she is the more ‘powerful’ one. [it’s always a bit trite to say ‘but what if the genders were reversed?’, but actually that’s not irrelevant here]. if hermione ends up taking the ministry by storm and ron becomes a stay-at-home father or has a job which is just to pay the bills, what, precisely, is wrong with that? why, precisely, should hermione regard ron making that choice for himself as a negative thing? hermione so often seems to leave ron in fan-fiction because of a lack of ambition - something which seems to be particularly common in dramione - but, in canon, she is shown to not particularly care if ron and harry do the bare minimum when it comes to studying etc. she nags them to do their work so they don’t get in trouble. she doesn’t nag them to do it to the same standard that she would.

and, actually, i think that ron being less ambitious than hermione is something which is key to how well they work. because ron provides not only emotional support, but emotional clarity.

hermione is shown throughout canon to - just as harry does - have a tendency to become obsessive to the detriment of her own health. she is also often - as harry is - emotionally or intellectually inflexible, and finds it hard to move on when what she feels or believes is proven to be wrong. both she and harry are micro-thinkers, who lean towards knee-jerk assumptions and stubborn convictions (and, indeed, hermione has a remarkably hagrid-ish tendency towards blind loyalty).

ron is none of these things. ron is a big-picture thinker (it’s why he’s so good at chess). he’s a pragmatist. he’s the least righteous of the three. he understands that faith and loyalty are choices, and that sometimes these choices will lead to outcomes which are bad or hard. he is the one of the three most willing to own up to having made mistakes. he is the one least likely to act on gut instinct (and, therefore, the hardest to fool - i think it’s worth emphasising that he clocks that tom riddle is tricking harry immediately, the only one of the trio to do so). he understands that things are a marathon, not a sprint. he is the least obsessive.

and these traits contribute to aspects of his character which are underappreciated. ron worries about hermione making herself ill during exams, or when she is using the time-turner, and makes an effort to get her to set healthy boundaries and redirect her anxiety. ron stands on a broken leg in front of sirius or goes into the forest to fight aragog not out of righteousness, but out of choice. ron takes over the burden of preparing buckbeak’s defence when it is clear that hermione is approaching burnout. ron is completely right that harry hasn’t done any long-term planning for the horcrux hunt, and his anger does force harry to tighten up after he leaves the trio. ron has a clear head in the middle of battle. ron makes harry and hermione laugh. ron is unafraid of human emotion. ron arrests harry’s tendency to brood over the little things by looking at the bigger picture. ron will always come back.

ron is bringing his politician wife regular cups of tea and making sure she doesn’t work all night. he is helping his lawyer wife to feel less upset over losing one case by reminding her that she’s won ten others. he is noticing stress creeping in and whirling her off for a dirty weekend, or even just a takeaway on the sofa. he is teaching his daughter to be proud of her ambition and his son to treat women as equals and both of his children that all you can do when you fuck up is apologise and try to do better. he is making hermione smile on the worst days of her life. he is helping her strategise her long-term goals when she gets stuck on the short-term ones. he is telling her straight when she needs to get it together. he is seeing a misogynistic head of department call hermione a ‘silly little girl’ and choosing to tell him exactly what he thinks of that.

ron is the ultimate wife guy. hermione is a very, very lucky lady.

[love-byers]

mike's weird language when he talks about el and their relationship

part of the equation of stranger things relationships is building the relationship through emotional connection, not physical intimacy and outright saying how you feel. it's a trope in st that the couples refuse to admit their feelings for some time before getting together. "we're just friends", "she's not my girlfriend" etc etc. the denial is super endearing. and even when the couples are finally together, this doesn't change. they're literally just the same duo same friends, but they kiss sometimes. they barely even acknowledge that they're together. it's a great trope in my opinion.

so a couple years ago i was rewatching st and made a list of everytime mike said something weird. meaning, every time mike did not adhere to this formula and stood out from the rest of the couples. i made a tiktok about it too so im basically quoting that in this post. something i stressed in that video was that because we have the other couples as source material, clearly the writers are capable of not doing this. they are capable of writing a good serious relationship, but they're choosing not to with mlvn. so keep in mind, the other couples (besides maybe stancy) do not do this and mike is supposedly, according to his own words, is madly and deeply in love with her throughout all of this and knows it.

Season 3

"Romantic time with my girlfriend."

i'll cut this one some slack, it's just that if you were truly madly in love it would be more like "I'm spending time with el". but thats all he views it as, romantic time with his girlfriend. going to his girlfriends house to make out with her. romantic time with his girlfriend. not bonding with the person he loves.

"Did you think we were never gonna get girlfriends?"

mike is hyperfocused on the word girlfriend. she's not el, the person he loves, she's his girlfriend. he doesn't say "did you think we were never gonna fall in love?" and look i get he's only like 14 here but it's the fact that he later claims he was in love with her the entire time and knew it. he literally claims it was love at first sight.

get girlfriends. he got a girlfriend. he didn't fall in love.

"It's not my fault you don't like girls!"

again the hyperfixation on girls, get a girlfriend, liking girls. mike, why are you more focused on the fact that el is a girl and your girlfriend than the fact that she's el?

"You're the most important thing to me in the world."

finn's delivery of this is so.....

and the fact that el just stares at him blankly afterwards, like she did not buy that lmao

Season 4

"That's because she's my girlfriend, Will!"

it's not "that's because i love her and want to talk to her" or something like that, it's "thats because she's my girlfriend and that's what you're supposed to do when you have a girlfriend" not "because she's el and i love her". that plays into mike's whole charade in lenora, he's just doing things he thinks he's supposed to do when you have a girlfriend.

"You're a superhero!"

that has nothing to do with who el is as a person, especially at that moment because at that time, el didn't have her powers. at the time, everyone believed they were gone, she wouldn't be saving the world anymore. but mike is still saying how incredible she is because she's a superhero.

i hate dr brenner so fucking much, but he did say something i really agree with. el kept going back to the concept monsters and heros, and he says those are things of myth and fairytale. not everything is black and white. this is real life, not a made up story with clear good and evil. and ultimately that helps her accept what happened with 001. he was 100% right there.

then here comes mike talking about monsters and superheros again like WRAP IT UP YA'LL ARE TOO GROWN FOR THIS

"You're the most incredible person in the world!"

again, he says that, but doesn't say why. he just expects her to believe him. it's such a broad statement and doesn't connect to anything about el and her personality/interests/ideas.

"Maybe I should've said something, and if I would've said that thing, maybe she'd want me there with her, wherever she is."

he wishes he'd just said it so she'd be satisfied and want him there and he'd know she's okay, he doesn't wish he'd said it so el would know in her heart that he loves her. "i love you" to mike isn't a geniune confession of his feelings, it's a thing. it's a thing that you say. it's something he thinks he has to say because that's what couples do and it's what el wants. if you fell in love with someone at first sight you do not refer to an expression of your love for them as 'that thing'.

"Maybe I was worrying to much about el. . ."

i really don't know what he meant by this. if she is the most important thing to him in the whole world and is deeply in love with her, why in the mother FUCK would he be apologizing TO WILL for worrying too much about her. there wouldn't be too much worrying when you love someone that much.

"You can fly, you can move mountains I believe that."

she literally can't.

"I love you for exactly who you are. You're my superhero."

the first time i saw this i literally thought "oh thats not..."

because it's.....not. one or the other would've been....fine i guess. but the first preceding the other is just not it. i love you for exactly who you are, and that is my superhero. is that all she is to you, mike? el expresses constant worry of being a monster, a bad person. she's afraid that she's a monster with or without her powers. but dr owens said "I'm willing to bet you're one of the good ones." fucking OWENS said something more reassuring than her boyfriend and supposed love of her life, mike wheeler.

THATS NOT ROMANTIC.

[s-soulwriter]

Research Tips for Writing Your Book

Are you diving into the exciting world of writing and researching for your book project? Here's what you need to know to make your research journey a success:

Define Your Purpose: Before diving into research, have a clear understanding of your book's purpose and goals. Know the themes you want to explore and the message you wish to convey. This will give your research a focused direction.

Create a Research Plan: Outline the specific areas you need to research, set milestones, and establish deadlines. A well-structured research plan keeps you on track and helps you manage your time efficiently.

Use Multiple Sources: Diversify your sources. Books, academic papers, interviews, and digital resources each offer unique perspectives and insights. This diversity enriches your understanding and adds depth to your writing.

Organize Your Notes: Keep your research notes well-organized. Consider using digital tools like note-taking apps or physical notebooks with labeled sections for different topics. Efficient organization will save you time and effort later.

Fact-Check: Ensure the accuracy of your research. Verify any details that are crucial to your story or argument. Misinformation can erode your credibility and disrupt the reader's immersion.

Cite Sources Properly: Keep meticulous records of your sources and be diligent about citations. Use a recognized citation style (e.g., APA, MLA, Chicago) to give credit to the authors and avoid plagiarism.

Interview Experts: Reach out to experts or people with firsthand knowledge relevant to your topic. Interviews can provide you with valuable insights, real-life experiences, and unique anecdotes to enhance your book.

Visit Relevant Places: If your book is set in a particular location, consider visiting it if possible. Experiencing the environment firsthand can help you capture its atmosphere, culture, and nuances more authentically.

Take Breaks: Research can be mentally taxing. Don't forget to take breaks to recharge and maintain a fresh perspective. Stepping away from your work can also lead to new insights and ideas.

Stay Open-Minded: Be open to unexpected discoveries during your research. Sometimes, the most profound insights come from unrelated sources or tangential information that you stumble upon while researching.

Keep a Journal: Maintain a research journal where you can jot down notes, ideas, and thoughts as they occur. This journal can serve as a valuable resource when you're writing your book.

Join Writing Communities: Connect with other writers in person or online. They can offer guidance, share their experiences, and provide emotional support when you face challenges during the research and writing process.

Revise and Refine: Don't think of research as a one-time activity. Continuously revisit and refine your research as your book evolves. New ideas or directions may emerge, and you may need to adjust your research accordingly.

Respect Copyright Laws: Understand the copyright laws applicable to your research. Ensure you have the rights to use specific materials, especially if you plan to incorporate them into your book. Obtaining permissions or licensing may be necessary.

Balance Research and Writing: While research is crucial, there comes a point where you must transition from research to writing. Avoid getting stuck in a perpetual research phase. Once you have enough information to start, begin writing and integrate research as needed in your work.

Remember that your research phase is an integral part of the creative process. It's where the foundation of your book is built, and it can be a fascinating journey in itself.But keep in mind, as you're writing your first draft, you can never know everything, never research everything. A second opinion is always good, and for that, you can ask friends, family, or even me on this blog.

[candlewaxandp0lar0ids]

How to Leave Comments on Fanfiction

So, I recently made a poll to know if people might find it helpful to have a list of things they could talk about when leaving comments on fanfictions, be it on Ao3 or on here. A majority of people were interested in seeing the post so, well, I'm making it. I started writing and posting stuff online when I was a teenager, on a website where leaving constructive criticism was the norm. It's by far the place where I've gotten the most feedback and it was an incredibly formative experience for me as a young writer — and it taught me how to leave detailed comments.

Writing comments doesn't necessarily come easy. It's something that you may need to learn how to do, but the good news is that you can learn how to do it, so don't worry if you don't know what to say at first. Hopefully this list will give you some pointers on how to do that.

This is more or less the list I go through when I want to leave a detailed comment. Even if I don't have a specific idea at first, I'll go through the steps and I never come out empty-handed.

Comment etiquette:

What became apparent with the poll I made was that a lot of people worry about how they'll be perceived by the writers if they leave a comment. Now, obviously, writers aren't a monolith, but 99% of the time writers will be thrilled that you took the time to leave a comment to let them know what you enjoyed in their fic. I cannot stress this enough. We're not going to judge someone based on a positive comment they leave.

As it stands, on Tumblr and Ao3, it's seen as rude to leave negative feedback, unless the author has explicitly asked for it/agreed to it, so that's what I'll be going over here. Since quite a few writers did say on that post that they would like to get constructive comments as well, stay tuned, I'm trying to get something together to do that for authors. Other than that, you're good to go.

The main ways to let an author know your thoughts on a fic on Tumblr are:

reblogging a fic with your thoughts underneath it

reblogging with your thoughts in the tags, which is often less formal

leaving a comment as a 'reaction'

sending in an ask if they're activated on the blog (which means you can stay anonymous, if anon asks are allowed)

Reblogging means that your followers will see the post as well, and is therefore really appreciated on Tumblr.

As a note, you may find different systems work for different fics! Maybe leaving tag rambles works for you when commenting on drabbles, for example for me it's the system I use to leave comments on smut.

General advice:

Everything I'm saying in here is for people who want to be able to leave longer/more detailed comments and don't always know where to start. If, for whatever reason, you're not comfortable or you don't have time to do it at the moment, a simple "I love the fic, thank you for writing it" always goes a long way for an author.

The key thing to keep in mind if you're trying to find something else to say, I think, is to try making the comment specific to the fic you're leaving it on. It shows the writer what you took away from the fic and the fic's strong points, which is both meaningful and helpful to an author.

Comments don't have to be long to be meaningful. Don't stress about writing a ton; a one-sentence comment highlighting the fic's humor or how emotional it made you can be incredibly impactful.

With this out of the way, I'll go through things you can talk about in a comment, starting with what I think is the easiest and moving on to things that could require more thought. You don't have to do all of that. You may never use some of the things on that list. Leaving comments should not be a source of anxiety. So take what you want from the list, maybe come back to it if you need more inspiration, and don't worry too much about it :)

Favorite line(s) : pull from the fic to let the author know what your favorite line was. If you wish, you can expand on that by saying why it was your favorite: did it make you laugh? Did it make you feel something specific? Did the author nail the characterization with it? Was there some incredible metaphor? Did you find it beautiful or poetic even if you can't go into detail? Is there one line in particular at the beginning of the fic that hooked you in and made you want to keep reading?

All of that is very valuable for a writer to know. Some of my favorite comments I've gotten were a list of a reader's favorite lines from a fic with one or two sentences to explain why they liked them, so don't hesitate to do that more than once if you can!

Emotions:  if there’s one thing I know about writers, it’s that we’re thrilled when we’ve made you cry. So tell us: how did the writing make you feel? Did you laugh out loud? If you did, was it the dialogue, or the narrator? Did it make you cry? Which part? Could you relate to one of the characters? Did it make you feel seen? Did the fluff make you feel all fuzzy inside or did the angst twist knots in your stomach? This isn't an exhaustive list, and emotions are great to draw from when you're leaving a comment!

Favorite element of the writing: Is there one thing in the writing that struck you as being particularly good, or what was your favorite thing to read? Is the author a master at writing dialogue? Are their descriptions so good you could see the whole scene? Are they really good at getting in a character's head and describing their emotions? Were you hooked from the start and couldn't stop until you reached the end?

Characterization: Now, this might be less instinctive, but if you've been in a fandom for a while, you'll probably be able to identify these things fairly easily. You can tell the author if you think they've nailed one aspect of a character. Did you have a favorite character in the fic? What did you think of them? Did the author manage to capture their voice? Was the attitude spot-on? Which parts of the character, if you can name them? Were there aspects of the character you particularly enjoyed? Did the author shine a light on something you hadn't considered or on something you don't think is highlighted often enough? Is there one thing from the fic you can actually picture/hear a character doing/saying in your head?

Style: I'd argue this is the hardest part, and you shouldn't feel bad if it's not something you can really comment on. As someone whose first language isn't English, I know I struggle with it. Style can be perceived as the way the author's voice comes through in the text. It can come through in punctuation, in the way sentences are formed, in the choice of the words themselves. If, when you read, you feel something intangible that doesn't fit well in the other categories, it just might be the author's style.

Here are some things (non-exhaustive list, of course) you could say about an author's style: it can be direct, straight to the point. The author doesn't bother with ornaments. Every sentence feels impactful. Maybe the writing feels intense. You're overwhelmed by the characters and their feelings and you feel truly engulfed in the story. Maybe the style is light and airy. It's so easy to read you don't even notice you are reading. Maybe the writing is intricate. Going through it is like piecing a puzzle together, sentences are foreshadowing and metaphors reveal deep truths about the characters. Maybe the style is rich. While not always the easiest, it's a pleasure to read through it, the author has a wide vocabulary, and you might want to compare it to a well-written novel.

If you identify specific elements of that style (metaphors, interesting use of punctuation, etc.), don't hesitate to point them out and let the author know you enjoy them!

That is it for this post, hopefully it doesn't look too daunting — again, you absolutely do not need to do all that in any comment, but maybe going through this list can help you leave comments for authors you enjoy.

I like to end my comments with 'Thank you for writing and sharing this with us', so I'll tell you thank you for reading, I hope this was helpful, and please consider reblogging if you'd like to save this or if you think it could help someone else!

As a bonus, my friend @elidebrey and I (but mostly her) made a 'checklist' for commenting, to help remember all this if that's something you'd like, so use at will!

A big thank you to @elidebrey, @yoongihan and @antoniorhinothethird for their precious opinions on this ♥

[olderthannetfic]

https://www.tumblr.com/olderthannetfic/767914734241628160/httpswwwtumblrcomolderthannetfic767056822358?source=share

This kind of person is why, after I had a manic episode after being gangraped two years ago and deleted one of my fics, I quit logging into that account, quit logging into all related socials, and made a new username on AO3 to write under. It doesn't matter what happens to cause it, if you delete something, you are evil. You are burning things down to hurt others and delight and entertain yourself. You are beyond redemption. Even though the anon they're replying to put the story back up, that's not good enough. You are not allowed to fuck up. Fucking up is an indicator of moral failing and reveals your truly vile, awful nature.

Mistakes are not tolerated. So once one is made, your only way out, the only way to ever be viewed as anything other than dogshit by readers, is to give up on the story. Don't reupload it, don't apologize, don't try to explain yourself. You've failed. There's no coming back from that. Any explanation will be taken to be a plea for attention and sympathy, a trap, a manipulation. Reuploading gives the content back but doesn't undo that you were vile, disgusting and twisted enough to fuck up once in the first place.

The only option, if you ever fuck up, is to make a whole new persona entirely and start over. As long as people like this are around, there's nothing else to be done. Apologies won't help. Apologies are manipulation in the eyes of the internet, where everyone is viewed as a potential enemy by default. You have to just give up on the story and walk away.

I'd love to reupload my old story and finish it. But people like this mean that if I do so, I'll end up being known online for being a manipulative asshole instead of a writer of a story.

The internet never forgets is a popular saying. The more accurate one would be that it never forgives.

--

Anon, yet again, these are strangers.

Yes, plenty of them are rude strangers. If it's going to hurt your mental health, don't re-upload the story.

But no, strangers do not know about the horrible things that happened to you. If they did know, they would probably think "Jeez, that's terrible!" and move on with their day.

Randos on the internet do not have a lot of emotional involvement with you, and that's a good thing.

And no, most people don't actually think in these histrionic terms. ~Eeeevil~ blah blah blah. This kind of black and white thinking and high drama is best taken up with a therapist, not my inbox.

[pigeonwhumps]

Secret Santa Snippet 2024

Secret Santa snippet for @kaiwewi! I hope you like it!

Prompt: A hero and a villain team up to confront a civilian who's writing an insane amount of fanfiction about them

918 words

"Well, hello there."

Civilian jumps at the voice in their ear. The seductive, sultry, melodical tone that fills the videos in the corner of their laptop screen.

They spin around.

Villain's lounging against the doorway, a smirk on his face.

"Am I interrupting something?"

Civilian swallows nervously. "No. No, nothing at all." As Villain shifts slightly, they slam a hand down on their laptop, abruptly remembering its contents. "Can I– can I help you with something?"

"Maybe. You're Civilian, correct?"

Civilian gulps, nods. Villain knows them by name. Why?

There's a low chuckle from someone behind him. Civilian flinches, then feels themself heat up at the absurdity of the reaction. It's just a laugh.

"Stop scaring the civilian, Villain." Hero sounds amused as they push their way past Villain, coming to stand by Civilian's window. Civilian doesn't miss how this covers both of their exits.

Them working together is near-unheard-of in public, but Civilian makes a mental note to include it in something later.

Hero smiles disarmingly.

"Hello, Civilian. How are you doing?"

Civilian swallows.

"Um. Hi. I'm fine."

"Good, good. You're panicking. Don't. We just want a quick word."

"Um. Okay. What about?" They want to deny their feelings but Hero will know. Empathic powers. It's the source of their emotions, all the confessions...

Hero's blinding smile drops into something much more serious, and Civilian's stomach plummets with it. Oh shit. Oh shit. What have they done?

"Your writing habits."

"More specifically, where they regard us." The 'us' is punctuated by a flash of white teeth.

Civilian tries to inch out of their seat, though they know there's no hope against Villain. Maybe they can get closer to Hero...

Villain places a hand down on the table beside them, blocking their exit, and just stares. Somehow, that's the most menacing thing he could do.

"It's just a hobby!" they burst out, babbling. "I just– I just like to write, I don't mean anything by it!"

Villain rolls his eyes and opens up the laptop, scrolling through the open tabs.

"Videos. More videos. Ooh look, a forum. And your *word document*. I wonder what you're writing now."

He bends over to look closer, humming. Civilian wants to sink into the floor. Better still, into the centre of the Earth and scrub this night from their memories entirely.

Hero crosses their arms.

"Villain. *Behave.*"

Villain sighs, but draws back, looking mutinous. In a dim corner of their mind, Civilian wonders what the arrangement was. Neither seems happy with it.

"I– I can stop. If you really want me to."

Villain opens their mouth, receives a glare from Hero, shuts it with a snap. Despite what they said, Civilian starts to make mental notes of all of this, all the minute body language and conversation between them, because this– this could really up the realism. Make everything in their writing so much more real. And it fits so well! They're so accurate!

"It's your private life," begins Hero, "and what you do with it is your own affair. Really, this shouldn't be any of our business, except people just have to keep showing us." A fact Civilian knew, and has never been sure what to think about, but one look at both faces and it's– it's definitely bad. "And wow. You write so much. So–"

"What do you see in us?"

Civilian stares. So does Hero, looking thrown. Civilian is suddenly, 100% certain that this wasn't part of the plan.

"Villain..."

Villain ignores them. "You're by far the most prolific writer. So why do you do it? What do you see? Besides the whole 'enemies-to-lovers' thing, which is ridiculous if that's your only reason, by the way, there's way better tropes out there."

Civilian swallows, throat dry. What do they say? The truth? A lie about it being a joke? Hero would probably see through that. What if their reasons aren't good enough, will Villain kill them? No, no, Hero wouldn't allow that. Would they?

"Stop looking like I'm the last thing you'll ever see and tell me."

Hero rolls their eyes. "I won't let him kill you. Melodramatic much."

Right. Right. No deaths. Not that Hero's words are very reassuring.

"You um. You're always fighting each other. And I mean, you're nemeses but Villain doesn't fight anyone else. You once waited three hours for Hero to turn up, just repelling everyone else with a forcefield, because you wanted a 'proper fight'. You send each other Valentine's Day gifts, and okay they're not what one might call traditional courting gifts, but still. Villain, whenever you're injured Hero avoids hitting that spot, even though it'd be an easy win, and Hero, you always go slow when Villain's ill. There's footage. And when was the last time you monologued for anyone but Hero, Villain? Your displays for everyone else are lackluster in comparison. You clearly enjoy each other's company at the very least. And I know that could all be platonic but just... it's fun to imagine... and..." Civilian trails off uncertainly as the tips of Hero's ears, the only thing visible under their mask, turn bright pink and they rush out of the room.

"Do not move one inch," growls Villain, not even ensuring Civilian will obey before running after Hero.

New writing ideas chase themselves around Civilian's mind, but only as an undercurrent now. Is this real. Is this really, actually, real?

They pinch themself. Ow.

And another thing.

How long is it going to be until Villain gets back?

[nanowrimo]

When Is a Small Press a Good Fit?

When it comes to publishing, many writers will think about big publishers first. However, there are a lot of different publishing options out there to explore. NaNo participant and author, Clara Ward, talks about their experience publishing with a small press and gives you questions to consider while you think through your publishing options!

NaNoWriMo inspired me to write. Signing with a small press gave me the support I needed to publish a book I love. 

I’d published books before—starting with NaNoWriMo sponsor deals in the early days of online publishing—but I never had the right skill set to promote those books. As a result, they never truly found their audience. 

In November of 2020, I poured my heart into a genre-blurring near-future tale of sailing across the Pacific and building a neurodiverse, queer, and possibly magical chosen family. In 2021, I titled it Be the Sea and asked myself: What am I going to do with that?

1. Are you looking for fame or family?

Small presses are as varied as the people who form them. If you read widely, you may already have a treasured book on your shelf from your publisher-to-be. Try asking NaNoWriMo friends who share your interests if they’ve discovered any surprising or emerging sources for great reads. (At the very least, you may find books you’ll love in unexpected places!)

Admittedly, a small press doesn’t have a fortune to spend on paving your path to fame. But I have never felt as seen as when my soon-to-be publisher, E.D.E. Bell at Atthis Arts, wrote back, “I’m really in love with what you are doing and would like to talk about it.” 

2. Do you have the bandwidth for working with others?

Even with the most supportive small press, you may have to push outside your comfort zone. I know authors who love the absolute control and freedom of self-publishing. For a time, I felt very comfortable just posting my NaNoWriMo fanfiction novels on Archive of Our Own. At most, I had one or two beta readers to offer feedback on those works. Whereas E.D.E. told me in one of our earliest conversations that in addition to our three rounds of editing we’d need “a good number of betas” to cover the range of topics we were working on together.

I was delighted! I knew what I’d written was ambitious, and I welcomed all the feedback I could get. But it turns out, each extra person in a process adds new challenges and delays. I had to stretch my empathy as well as my publishing timeline because, to quote E.D.E. again: “It’s a lot of emotion (as well as brain cycles) to go through...” Outside perspectives will only improve your writing if you are willing to work with them, to truly listen and learn.

3. Can you handle the two-way commitment?

No form of publishing is easy. The myth that authors write while others handle business and promotion is not true at the top, and certainly not with small presses. In my experience, working with Atthis Arts was like joining a team or chosen family. Beyond certain paid tasks, such as editing and sensitivity reading, I discovered a community of authors who freely offered coaching before my first public reading, social media boosting, tips for author webpages, and an extra pair of eyes on letters requesting bookshop readings or other events. While not all small presses work the same way, this supportive culture proved to be an excellent fit for me. Naturally, I wanted to give back whenever possible.

Small presses can only succeed with community. This month, as I promote the launch of Be the Sea at bookshops in Mountain View, Davis, and Sacramento, I will be introducing many Californians to my Michigan-based small publisher, Atthis Arts. When I stand up as a panelist at Norwescon in Washington state or at various science, library, or Pride events later in the year, I’ll be promoting more than Be the Sea by Clara Ward. I’ll give back by sharing my appreciation for small presses, the supportive and inclusive practices they can normalize, and the opportunities they open up for future writers and readers. 

Clara Ward lives in Silicon Valley on the border between reality and speculative fiction. Their latest novel, Be the Sea, features a near-future ocean voyage, chosen family, and sea creature perspectives, while delving into our oceans, our selves, and how all futures intertwine. Their short fiction has appeared in Strange Horizons, Decoded Pride, Small Wonders, and as a postcard from Thinking Ink Press. When not using words to teach or tell stories, Clara uses wood, fiber, and glass to make practical or completely impractical objects. More of their words along with crafted creations can be found at: https://clarawardauthor.wordpress.com

Photo by Hümâ H. Yardım on Unsplash

[menaceoffandoms]

LMK analysis rant: Mei

I said I was gonna do this and I'm keeping to my word! The only thing that may stop me is my procrastinating... and the fic I'm slowly writing but uhhhhh-

ANYWAY- We're here to talk about Mei, our favourite white horse dragon pepper girl!

Mei stands out as the most different from her inspiration, something the writers perfectly portray in the yellow-robed demon episode of s4, which is likely to do with how little they had to go off of. Despite being one of the pilgrims in jttw, Ao Lie dose very little in the novel. His most notable chapters being when he's introduced and when the group faces the yellow-robed demon, which is why we met him in that memory in the scroll. Combined with my belief that Mei isn't a reincarnation of Ao Lie -- just his descendent -- means that Mei is one of the most unique characters in the entire show.

There's just less source material for her to draw from, it let's the writers have more fun and do more things. It's not that they don't make the others characters unique -- they like to play very fast and loose with things over all -- but Mei feel like her own complete and original character. She's inspired by Ao Lie in the same way Mk is inspired by Monkie King basically and she all the better for it.

Being the female lead (isn't it interesting how most of the female characters in this show are villans?), Mei is a refreshingly strong, confident girl who begins the show as the most powerful cast member. Being a descendent of the great dragon gives her amazing powers that no other cast members have, a birth right that leads to her being the most protective of her friends and the first to help out in any fight.

What she has in power, however, she lacks in experience. Mei has no mentor -- other than her parents, but I believe its safe to assume they weren't very focused on teaching her combat -- which leads her to trust her gut more, rush into things and learn through observation, like when she mimics what her great x1000 uncle did in s3.

Overall Mei is an excitable, energetic and loving person with a "You only live once" kinda attitude, for lack of a better explanation. Even still, she has her own insecurities and flaws which make her all the more interesting. Due to the shows run time, Mei and many of the other main characters don't really get explored as much as Mk, however what we do see of these struggles and fears is incredibly interesting even on a surface level.

Her tendency to rush head first into danger without first examining the situation or creating a plan, truthfully, tends to work out for her, but it can't always. It's something shown perfectly in s4, when Mei is the only member of the group to not get a star from Master Subohdi, however what a lot of people seem to miss is how Mei actually did earn that star eventually.

When they leave the temple and head to the celestial realm to try and stop Azure, Mei leads them there with no plan at all. As such, they fail and need to be saved by Mk. Faced with proof of Subohdi's criticism, Mei makes the more important amendment to Mk's plan in the s4 special. I don't think we've even seen Mei make a serious plan until this point, which feeds back in to another one of her flaws: being unable to take things seriously.

This isn't something I see said about Mei often, but when watching her character I think it's externally obvious. Don't get me wrong, Mei can be serious, but usually only in moments of vulnerability or high stress. For example: when talking with her pearents, after she gained the Samahdi fire and whilst imprisoned by the Yellow-robed demon.

I think this flaw is Mei's own version of Mk playing dumb. They both behave this way to lessen the emotional impact of serious things, to protect themselves and help those around them deal with trauma or difficult topics. Mei and Mk really are two sides of the same coin and I'd love for them to do more with that in the show.

Going back to Mei's parents, one of her biggest struggles is reconciling who she is with who she's meant to be. She is a noble dragon, a descendent of the great dragon of the West Sea and practically the successor to Ao Lie. It's a lot to live up to and -- evident in episode 3 of season 1; Welcome home -- she doesn't believe she dose.

Mei is confident in her abilities, she's sure of her strength and quick to help those around her, but in the face of her legacy she stands uncertain. It's another thing her and Mk have in common, though in vastly different flavours, and it's interesting how this legacy colours Mei as a character.

She wields the dragon blade, proving herself as a worthy part of her family and gaining the approval of her parents, however the stark difference between her and the rest of her clan is more blatant than ever. We see this perfectly in season 3 when they visit the great Dragon of the East Sea, Mei being put into fancy clothes she instantly ruins in order to have a place to hold her sword. She fights against her uncle, fights against her family, because she knows they'll never understand her. But even still, she knows she's still one of them and she's so proud to be.

Becoming the vessel of the Samahdi fire is only more proof of Mei's legacy and connection to her family. It gives her a moment of pure vulnerability where she vents her frustrations and fears before rushing away, wanting nothing more than to protect the people she cares about.

When Red Son finds her she's still serious, but even with just a basic understanding of the fire within her Mei falls back to her normal nature; a silly excitable girl not taking things seriously. We see this after Red Son attacks her with the spears and when she's eating later on, but even if her attitude doesn't show it, she's still listening and taking the training seriously. She just needs to be silly so she won't freak out again.

Since we're on the topic of the Samahdi fire, I think most people can agree that the way it was handled post s3 was very poor. With only one mention of it in s4, by Master Subohdi no less, I assumed that the fire had been resealed, this time correctly. Something that dangerous should be locked up, even if a capable wielder is around. It would also prevent power creep and stop the show from having another Wukong predicament, by which I mean a character so powerful they need to find a way to prevent them from trivialising whatever threat they have to face in the plot. Wukong will get his own post soon don't you worry...

Instead, we learn in s5 that Mei still has the fire, she just kinda forgot? She learned to fully master it when breaking out of LBDs mech, so since the fire was no longer a raging uncontrollable inferno she just didn't realise it was still there... for an entire season. Yeah it feels lazy and honestly is probably the worse written choice the show has even made. Even still, it dose lead to a very interesting and in character moment for Mei.

When attempting to seal the willow wisp with Red Son, Mei loses her confidence, believing that she lost the Samahdi fire and thinking she's lacking. Mk getting Monkie Kings powers was one thing, but the rest of her friends now having cool weapons and magic? If their all so strong and only getting stronger, then what's the point in Mei? She was the strongest but now she might be the weakest, and that terrifies her cause if she's weak she can't protect people. How can she act when she's powerless to do so?

This dilemma is quickly resolved by Red Son telling her she's had the fire the whole time, amending it's use to Mei's lightning motif she's had since s1 -- I know fire benders in ATLA use lighting but come on -- and basically saying she's been using the fire the whole time. It takes away from Mei's whole struggle to be honest, but I do think there's potential for her to relearn this now tamed Samahdi fire so she can better use it. Just depends if the show wants to do that...

Moving on from my thinly veiled complaints about season 5 (I like it I swear but it is the weakest seasons to me so far), let's talk about Mei's role in the group a bit. Aside from being the token girl, she's also Mk's best friend and the only other character his age and acts around the same age as the shows target audience. Mk's the main character and leader, Tang is the lazy historian smart guy, Sandy the loveable giant, Pigsy the cynical brute and Mei's youthful and silly power house.

I would love to go into some narrative tropes, specifically the 5 man band since jttw is one of the primary bases of the trope, but I've realised I have far too many thoughts about that to fit here. This is the 21sh paragraph and I'm sure at least some of this is a mess, but I hope I'm getting my point across! Overall, Mei is an extremely compelling character how often gets side-lined due to run time and other stuff, but is honestly one of my favourite characters in the show.

[literaryvein-reblogs]

Writing Notes: The Rhetorical Triangle

Rhetorical Triangle - a simple, useful tool that can help you develop a strong and well thought-out essay, especially in persuasive writing and speeches.

Each side of the triangle represents one of the three classical rhetorical approaches used to build informative, persuasive arguments that influence audiences in specific, powerful ways.

There are many visual representations of the Rhetorical Triangle available online, such as the following:

The 3 Classical Appeals: Ethos, Pathos and Logos

Each of the three approaches attempts to prove arguments and persuade readers by emphasizing a specific type of appeal.

These appeals are not mutually exclusive, and you will often find elements of all three working together in effective writing.

Ethos: Appeals to Credibility and Authority

To use this appeal, you might emphasize experience or educational background, your own or those of your sources, as the reason the reader should believe you.

By citing credentials, the argument is being built on the word of experts.

Your reader expects to acknowledge the qualifications of the individuals or organizations presented as capable of supporting an argument with valid, factual, and credible information.

Pathos: Appeals to Emotions

Although this appeal is not as commonly used in academic writing as the other two, it does appear regularly in literary work.

Recognizing and using pathos appeals to personal values and emotions, which are some of the most powerful appeals.

Logos: Appeals to Logic and Reasoning

When you think about academic writing, you probably think of logic-based writing, which targets a reader’s intellect and often includes facts that build upon each other to support complex arguments.

Because this appeal relies on a reader being able to follow well-constructed arguments, it is critical this writing is clear, organized, and focused.

Extra information that does not directly support the logic of the arguments can distract and confuse a reader, and ultimately weaken an argument.

Identifying and Using Rhetorical Appeals

Now that you are familiar with each of the three rhetorical appeals, you can consider how you might use them in your writing, based on the specific rhetorical situation you are working with.

ETHOS

If your paper is discussing the effects of drinking and driving, you might include an interview with a veteran DPS Trooper who can discuss his fifteen years of experience working New Year’s Eve patrols. His professional credentials help your readers believe his observations and ideas are informed, relevant, and appropriate to the topic. By citing them, you are presenting your source’s DPS training, certifications, and experience as the reason your readers should accept your argument.

Incorporating topic information from reliable, well-informed sources strengthens your argument and makes it easier for your reader to accept.

Writers present their source’s credentials through in-text citations as well as through their Works Cited listings.

These citations provide your readers with the background and information they need to evaluate the quality and credibility of your sources.

PATHOS

If your goal is to get your reader to feel something, or to take a certain action, you may find this appeal highly effective.

Think about the popular TV commercials that raise money for abused animals. Those commercials are designed to make viewers feel sadness by showing images of pain and suffering. By the end, they switch to hopeful images and dialogue to inspire viewers to take a specific action and become supporters of their cause.

Pathos is often used in literature. Think about stories that seem to come alive in some way. Perhaps it is a character to whom readers can genuinely relate or stories that make readers feel happy, sad, or angry.

Writing that evokes emotion often uses Pathos. It is also commonly used in spoken word compositions like speeches, poetry, and theater.

When possible, including thoughtfully chosen images and music is another way you can use pathos through sensory details to connect with your audience’s emotions.

LOGOS

To create logical support in your work, you might include data, case studies, statistics, lab reports, and other similar information.

This is a popular appeal, and if you watch for it, you will find it used to support claims in everything from scientific reports to advertising, such as the familiar “Nine out of ten dentists recommend using an automatic toothbrush over regular brushing.”

COMBINING RHETORICAL APPEALS

As you start planning your essay, you may find that a combination of appeals works best.

Example: You might decide that case studies and lab reports will provide the best data to support your claims, focusing on only highly-qualified sources that are well known in your field.

By making these choices, you are employing the power of both Logos and Ethos into your essay, a combination that will result in a clear, organized, credible, and effective argument that conveys your message.

Source ⚜ Writing Notes & References