#real decision making power in the story

[shorthaltsjester]

being a huge fan of tlou but also like. thinking that certain stories are built for certain mediums. like the entire theme of tlou2 is grounded and fresh because it’s a railroad/story video game that still affords you mechanical choices in how you navigate the world. i just don’t have a lot of confidence that presenting that story in a tv show with the minimal adjustments that they did in s1 will be fulfilling or compelling in any comparable way. because with tlou1 some of the like. beauty of that story was simply that it was such an emotive story contained in the medium of video games. and some of that was retained just by hitting similar or expanded emotional beats in the show, like the episodes that expanded on the life of the characters and the realities of that world. but truly so much of tlou2 emotional depth and ‘why does this story matter’ rests in the fact that’s it’s your hands on the controller, continually choosing to go forward in the story and have hope that it will work out in your-as-ellie-or-abby-or-somehow-booth’s favour. and you simply cannot get that in a non-interactive medium like television. like i do think tlou2 is a good story but it’s a good story because of the investment required by the player to keep pressing buttons and keep returning and to feel the adrenaline like responses of high intensity moments and be jarringly shifted into backstories that only increase the frustration. in general i’ve been thinking a lot about cross-medium adaptation and on the one hand i am glad that season 1 makes the story of the last of us more accessible to people who wouldn’t pick up a video game but it’s also like. maybe instead we can destigmatize video games as this inaccessible and dangerous medium a bit more instead of just . implicitly agreeing . like no maybe your mom won’t pick up a video game controller and play the last of us . but maybe you can play the game in the living room. sometimes the mediums that stories are told in aren’t just important but are actually foundational parts of how the information of a story is conveyed and that’s not only okay but is fucking fantastic. we should be happy actually that there are so many ways to collect a bunch of themes and ideas and put them together and hold them out to someone else and say “won’t you consider this with me. won’t you feel these emotions and care about these characters with me.”

[danielnelsen]

so if you romance and ascend astarion you can kick him in the balls when he tries to turn you and it’s just very funny, he’s so pissy about it. so much for the most powerful vampire of all time or whatever, he stamps around like a toddler and then leaves forever

[agoddamnrayofsunshine]

I’m sure someone has talked about this before but one thing I absolutely love about tbosas is how Snow’s descent into villainy is never once presented as something that was inevitable

So many villain origin stories portray this idea of a person who tries incredibly hard to be a good person, who takes every opportunity to be kind and to better themselves, but are ultimately doomed to fail by the narrative. Their environment and their circumstances make it impossible for them to be a good person, and while this is effective from a storytelling point of view it’s not exactly accurate to real life

In real life there is always a point where a bad person makes the decision to do something bad, they make the decision to prioritise themselves, their own power, money or desires over someone else. That’s how real life dictators are made, they are presented with every opportunity to be good, and they purposefully choose to not take it

This makes Snow’s storyline so effective because he is given so many opportunities to do the right thing and yet, at every single turn, he chooses to serve himself instead, exactly like how real dictators are made

Snow, unlike most people we see in the capitol, is in a unique position where he could genuinely have the chance to understand and relate to the people from the districts. He, unlike his classmates, is poor and spends most nights going hungry, he witnessed firsthand the cruelty of the capitol when Clemensia was bitten by the snakes for nothing more than lying about doing her homework, when his sister was forced to sell herself on the streets in order to feed the both of them

Throughout his book, the three people he is closest to are Tigris (who dislikes the hunger games, is a rebel, and a victim of the capitol forced to turn to prostitution), Sejanus (who is originally from district 2, dislikes the capitol and knows he will never be accepted there, and also a rebel) and Lucy Gray (who is a victim of the hunger games, from district 12, and is also treated horribly by the capitol). These are all people who gave him an opportunity to realise the cruelty of the system he was in, a chance to directly confront his prejudices and see that people from the districts are just the same as him, and yet he still refuses to take the chance to change

He is given every opportunity, he’s sent away from the capitol to be a peacekeeper in the districts, he forms personal connections with people from the districts, he helps Sejanus perform funeral rites, and yet at every moral crossroads he comes to he makes the wrong decision. He didn’t have to become a villain, and yet he made the choice to do so anyway, despite every chance he was given

I think it’s a really effective portrayal of Snow as a character, and it’s a very effective villain origin story for the type of villain that Snow is. It never once excuses him from his actions because it highlights just how accountable he was for his actions

[caffeinewitchcraft]

AITA for divorcing my vampire husband because he lied to me about his human job?

I (542 vampire) and my husband (260 vampire) have been together for a little over two centuries. There’s a saying in the vampiric community that it takes a century for a tryst to become an enduring partnership and another century to become soulmates. I thought that was true and that Matthew (using his real name because fuck you, Matthew) and I would be together forever…until this week.

First, let me explain a few things to the mortals here. I don’t mean that negatively – I came here specifically to get the opinion of those with a finite lifespan. However, I want to be fair to Matthew as much as possible and some of his decisions are very immortal-minded.

Both Matthew and I are vampires who have chosen to forsake some of our powers in exchange for the ability to daywalk. We made the transition together on our 100th anniversary almost 115 years ago. It wasn’t an easy transition for me. I was very dependent on human blood and I spent the first twenty years in almost constant sleep as my body adjusted to running off of less lunar magic and more solar magic.

It really felt like I was losing everything. My body got physically weaker and my powers began to disappear one by one. It felt like every time I woke, another part of me was missing. One day I could turn into a wolf, the next I could barely turn into a vapor. I could command a legion of undying servants, and then I could barely convince the mailman he didn’t see me levitate down from the second floor.

Matthew, however, took to daywalking like a werewolf to a sheep farm. He barely seemed to feel the pain of losing his power, maybe because he was so much younger than me. Whatever the case, he was out all the time once he stabilized. He would be gone for days sometimes and when he came back it was with fantastic stories about the humans’ new inventions or the new structures being built in whatever town we were in.

I’m not saying I regret transitioning. Just that Matthew and I had very different experiences. It felt like he barely changed at all while my entire being got rewritten. Being immortal makes you comfortable in your own skin. I never doubted myself or my power after I turned 100. But becoming a daywalker made me feel like I was being born as a human again. It was humiliating and vulnerable. I have to admit there were times I resented how easily Matthew did it. I blamed him for not supporting me like I thought he should. I would daydream about draining a human in front of him, showing him what I thought of his fascination with them. I had all sorts of vile and vengeful thoughts. I’m not proud of the person I was and now I’m grateful Matthew wasn’t there to see the lows I sunk to.

Despite all my awful thoughts, I didn’t quit. I don’t know why, but I didn’t. I stuck with it and, day by day, things got easier.

After 26 years I began to stabilize. The benefits of being a daywalker slowly blossomed before me.  Now I can say that I am completely happy with my daywalker status and all the changes it’s brought.

I am the most mentally stable I have been since my Turning in 1482. It’s like I’m awake. The fits of rage that used to consume me for months at a time have completely disappeared. I don’t experience the same level of obsession I used to which has freed up a lot of my time that I used to spend stalking my victims.

However, that drastic of a change would be challenging in any relationship. Matthew and I ended up together because of my obsessive nature. Our relationship became strained when that part of me went dormant. He expected me to follow his immersion into the human world just as I had followed him in his revenge quest against his Master. He expected me to support him wholeheartedly and with everything I was. He wanted sacrifices from me that I used to not even flinch at before making. But something was just…different. We wanted different things. I wanted different things.

Matthew was obsessed with being the perfect human. He craved full immersion. He still makes it a point to get a human job every twenty years or so. Me? I’m happy to live off our investments and some mild mind control while enjoying the art and theater community the humans have evolved.

It got bad. Some years, we spent like ghosts in our own house, drifting by each other without a glance. Other years, it was like we were spies behind enemy lines. He would do whatever he could to thwart me and I would go out of my way to ridicule him. Our vitriol poisoned the earth. Matthew didn’t speak to me for a full decade when that poison killed off an entire town.

About twenty years ago, it all came to a head. We had a serious sit-down talk about our relationship. It wasn’t easy. What they say about teaching an old dog new tricks is sometimes true. Matthew wanted me to be as involved with the humans as he was. He wanted me to care about them like he did. I wanted him to travel with me like we used to and not just hop from town to neighboring town (which he did to maintain a human identity with references so he could keep working). When it became clear that we were at an impasse, I brought up the idea of separation.

Separating in the vampiric world isn’t easy. There are a lot of alliances and blood oaths to be considered. Over the two centuries we spent together, we became known as a unit to a number of supernatural entities that we maintain an uneasy truce with. Separating would mean creating new oaths and alliances with the same individuals. And there was no guarantee that those individuals would make new pacts with both of you. A LOT of vampire couples end up in blood feuds while separating. Neither of us wanted that.

There was also, of course, the emotional side of things. While a lot of immortals tend to only feel muted emotions (especially vampires as old as me), Daywalking had made both of us more sensitive than we’d been before. We were both attached to the memories we shared and neither of us could imagine life without the other. After 200 years together, it felt like Matthew was my right arm, and I his. When I brought up separation, we both felt it like we were discussing an amputation.

After about a year of talking, we finally reached an agreement. We didn’t want to separate, and so we would compromise. I wouldn’t interfere with any of Matthew’s human jobs for the 15-17 years if he could hold them without arousing suspicion. In exchange, he would take a year off to go traveling with me before finding another town for us to live in. In between my trips, he would go to plays and galas with me to enjoy human artistry at least once a month.

Maybe our deal was in his favor. At the time, it felt practical and fair. A year of traveling wouldn’t undo Matthew’s string of connections. We would still see each other frequently by going on dates that I liked. Matthew would get to stay immersed in the human world at the level he wanted, and I could stay within my comfort zone.

Which brings me to my current problem.

We are currently at the start of one of Matthew’s work cycles. He’s been everything from a fireman to a politician to a subway worker to a barista. He craves knowledge and connection to a terrifying degree. If it weren’t for how we move every 20 years and he goes without protest, I’d call it obsession.

This cycle, Matthew told me he was going to be a teacher. I was hesitant. While the humans have become more tolerant and less violent over the years, that doesn’t mean they will tolerate us near their young. Enough humans know about vampires that staking in the modern era is a real possibility. Matthew could incite an angry mob against us or, heaven forbid, get a vampire hunter on our tail. I have yet to be shot, but I hear that they have silver bullets that hurt like Hell.

When I voiced my protests, Matthew reminded me about our agreement. He said that I wouldn’t interfere with his jobs and he’d go to all the plays I liked. He even pointed out that, as a teacher, he could get us into high school plays and expositions. I was uneasy, but agreements are penultimate to immortals. I silenced my objections and let him get a job as a science teacher at a local high school.

When Michael has had jobs in the past, I’ve never really paid attention. One time he was a state senator for ten years and I never even heard him speak. I didn’t consider it worth my time to hear whatever his facsimile of a human would say. Real humanity is in the art they create, not in the parody Michael enacts.

But this one…I couldn’t ignore this one. Maybe it was because I was still uneasy about his proximity to human young or maybe I could sense his lies even at the beginning. Whatever the case, I watched him.

The first thing I noticed was the hours. He would go to work early and would often come home when it was time for us to sleep. When I asked him about it, he said that he wasn’t used to grading and that he had underestimated what it took to put a good lesson plan together. I visited some online forums and that’s apparently reasonable for first year teachers.

He would also sometimes go in on the weekends. He missed one of our dates because there was a “grading emergency” that needed his immediate attention. Something about a student’s test getting lost and then found and he needed to input their grade before the deadline which was on Saturday. Humans like silly rules like that so I didn’t even look that one up. I just reminded him that he couldn’t miss our dates again or else he was breaking our deal. He apologized and said it wouldn’t happen again.

Then about three months into his new job, the phone calls started. We have a private room in our house for when we need to talk without any visitors overhearing. Michael moved all his school supplies in there, saying that he needed a silent space to concentrate on his grading. Whenever he got a call, he would never answer it in front of me. Instead, he’d say “Sorry, work” and just go into his office.

I also noticed that he didn’t dress very professionally. Human fashion changes quickly so it didn’t register at first. A sweatshirt here and there slipped past me, and also the Gucci slides. When he started wearing baggy jeans and jerseys to work, I noticed. I may not be up to date on all the newest fashions, but I do go to classy events. I know what a slob looks like and it didn’t sit right with me that he was wearing that to school. When I asked him about it, he always had an excuse. “This is what everyone wears” and “It’s a theme day” or, bafflingly, “It’s spirit week!”

I tried to leave it alone. The reason we have stayed together for so long is because of our agreement to not interfere in each other’s lives. But between his hours, the phone calls, and his appearance, something didn’t add up.

Then, last Thursday, he missed another one of our dates. We were supposed to go to the Nutcracker together. Even though I prefer matinees (when the cast is fresh), I agreed to get us tickets for the evening show so that he wouldn’t have to leave work early. When he wasn’t there at 7pm, I called him and he didn’t answer. Then, when I called him again, his phone was switched off.

I was furious. I spend nearly two decades in these tiny towns so he can live his human fantasy and he can’t even show up for one two hour show? It was the first time since becoming a daywalker that I felt that angry. I was scared about what I might do, so I made myself go home to wait for him.

Only, he never came home that night. At 3am, he sent me a text apologizing and promising to make up our date on Saturday. But the Nutcracker was only playing until Friday and that would be too little, too late. To be honest, it already was. I texted him that and he never responded.

He never ended up coming home last weekend. I texted and called him probably a dozen times and he never responded. I got angrier and angrier as the days dragged by. Did he think I was someone to be taken lightly? Did he not realize that the fragile agreement between us was all that was keeping us from separation?

Yesterday (Monday), I couldn’t take it anymore. If he wasn’t going to come home or respond to my messages, then I would go to him. If he was so obsessed with this new job that he would ignore me for it, then I knew exactly where to find him.

I arrived at his school at 10am. I researched enough to know how to go to the office and sign myself in. I asked the office assistant which room Mr. Duetto was in.

The lovely young woman looked confused. “I’m sorry, but I can’t give that information out to anyone but family,” she said.

“I am his only family,” I said.

She clicked a few more keys and looked more confused. “His paperwork only shows his mother, Delilah Duetto.”

That’s right. His mother. But I still didn’t understand then.

“That’s me,” I said.

“You are not the mother of 17-year-old.”

“I’m his wife,” I said.

She was upset by that. I won’t bore you with every detail, but I had to alter her memories so she wouldn’t call the police. I may not look like someone who has a teenager, but I also don’t look like a teenager. I ended up having to alter her memories so she wouldn’t call human CPS on an apparent adult swearing she was married to a minor.

I went home and broke into his office. There weren’t any lesson plans. There were no graded papers. There were syllabus from different classes, homework with his name on it, and a few polaroids taped to the bottom of his desk of him at a party with children.

Human children. I don’t honestly know which is worse.

(EDIT: I know the child part is the worst part. I misspoke because of my anger. It’s not the humans’ fault that my husband is a pervert.)

I broke into his laptop and used that to check his text messages. He’s been texting like a high schooler. He’s been to parties with them, listened to their problems and even fabricated a few of his own. He’s caught in some sort of weird love triangle where a freshman girl likes him but his “best friend” likes her. He has texted both of them about it, promising his “bro” that nothing is happening and then turning around and leading this girl-child on.

Some choice quotes: I should know better than to get close with you. You and I come from very different worlds

To which she replied, lol maybe we should let our worlds collide

!!!!

I find the entire situation disgusting. Matthew is several centuries older than them and he definitely knows better. He’s literally wearing the sheep’s fleece amongst the flock. He has no business forming relationships with human children and even less pretending to be one of them. He’s not a baby. He is over two centuries old!

What is he doing flirting with a child? It’s vile and disgusting and I was set to kill him for it.

I confronted him about it when he came home last night. I told him that he was sick and dangerous and if he loved humans then he needed to stop immediately. I told him we either left town today or I would make sure he never set foot back in that school in a way he really wouldn’t like.

 He threw a huge tantrum over my invading his privacy. He shouted at me that I had broken my promise to never interfere in his job. He called me controlling and crazy.

I told him he was the crazy one for chatting up a child. He told me he wasn’t, she was just his friend. I asked him to read their texts out loud if he was being so friendly. I also pointed out that there was no way a 260-year-old vampire is a child’s friend.

He told me I was a hypocrite because I basically cradle robbed him (we’re almost 300 years apart.) He said if anyone was disgusting, it was me for taking advantage of him.

I pointed out that he wasn’t a child, he was over 60 and had already been a vampire for four decades. He argued that that was basically being a child in vampire terms.

I was so angry at that point that the house was shaking. I told him if he felt that way, then we could get divorced right then and there. That that was what I wanted to do anyway because I couldn’t be married to a pedophile.

He asked me if I was seriously going to start a blood feud over him immersing himself in human society. I said no, I’m starting a blood feud because he’s become every predatory stereotype humans have of vampires.

He called me a hypocrite again and told me he was leaving. He said not to call him unless I was ready to apologize. I told him that the next time he sees me, he’d better run before I showed him the real difference between us. And it wasn’t just 300 years.

When I calmed down, doubt started creeping in. From an immortal perspective, what he’s doing isn’t really wrong. I hate to say it, but most immortals don’t view human lives as significant. I know a few vampires who would say that divorcing because he’s playing with his food is idiotic.

Plus, there’s the agreement to consider. During our fight, Matthew pointed out that being a student is a job to humans. So therefore I didn’t have the right to interfere. A big part of me thinks that’s bullshit, but a small part of me wonders if he’s maybe right about that?

I also have to ask myself why this even bothers me. I’m the one in the relationship that is aloof from humans. I’m the one that’s always saying we are from different worlds (Yeah, he stole that from me) and for good reason. 

But over the years, I’ve become fond of humans. No immortal makes art like them. I may not remember my time as a mortal, but there are works that give me a sense of nostalgia. Sometimes I think I can remember being a child myself, standing in a field like in Monet painting, staring at the wheatstacks and waiting for the miller to come. 

The thought of Matthew playing with them makes me sick. It’s like even after all the years of him living amongst them, he thinks of them as props in his twisted play. It’s even worse that he’s doing this to children. 

I can’t help but think something went really wrong with my husband when I wasn’t looking. At the very least, I’m planning on divorcing him. But would I be the asshole if I killed him too?

 Separating from him will be violent and messy. There will likely be human casualties. But I don’t see any other way. So, I ask.

AITA for divorcing my husband for lying to me about his human job?

----

Thanks for reading! I loved answering some of the responses I got when I first posted this over on my Patreon (X)!

These collaborative story telling pieces are the highlight of my week. Next week's story is about a witch who wants to know if she should attend her high school reunion even though she's responsible for stripping two former classmates of their magic...

Please check that out here (X) if you''d like early access! Otherwise I'll see y'all next week :)

[thewriteadviceforwriters]

10 Ways to Add Sizzle to Your Boring Writing

Writing that sizzles captures the reader's attention and keeps them engaged from start to finish. Whether you're an experienced writer or just starting out, there are several techniques you can use to make your writing more exciting and dynamic. Here are ten detailed ways to add sizzle to your boring writing:

1. Use Vivid Descriptions

Vivid descriptions bring your writing to life by creating a rich, immersive experience for the reader. Instead of relying on generic or bland language, use specific details that appeal to the senses. Describe how things look, sound, smell, taste, and feel to paint a vivid picture.

In Detail:

Visual Descriptions: Use color, shape, and size to create a mental image. Instead of saying "The car was old," say "The rusty, olive-green car wheezed as it pulled into the driveway."

Sound Descriptions: Incorporate onomatopoeia and detailed sound descriptions. Instead of "The music was loud," say "The bass thumped, and the high notes pierced through the night air."

Smell and Taste Descriptions: Use sensory language. Instead of "The food was good," say "The aroma of roasted garlic and herbs filled the room, and the first bite was a burst of savory flavors."

2. Show, Don't Tell

"Show, don't tell" is a fundamental writing principle that means revealing information through actions, thoughts, dialogue, and sensory details rather than straightforward exposition. This approach makes your writing more engaging and allows readers to experience the story.

In Detail:

Actions Over Exposition: Instead of telling the reader "Jane was scared," show her fear through her actions: "Jane's hands trembled as she fumbled with the lock, her breath coming in shallow gasps."

Dialogue: Use conversations to reveal character traits and emotions. Instead of "John was angry," show his anger through his words and tone: "John's voice was a low growl as he said, 'I can't believe you did this.'"

Internal Thoughts: Reveal characters' inner worlds. Instead of "Emma felt relieved," show her relief: "Emma let out a long breath she didn't realize she was holding and sank into the chair, a smile tugging at her lips."

3. Create Relatable Characters

Relatable characters are crucial for keeping readers invested in your story. Characters should have depth, including strengths, weaknesses, desires, and fears. When readers see aspects of themselves in your characters, they're more likely to care about their journeys.

In Detail:

Character Flaws: Give your characters realistic flaws. A perfect character can be boring and unrelatable. Show how these flaws impact their decisions and relationships.

Character Arcs: Ensure your characters grow and change throughout the story. A well-crafted character arc can turn a good story into a great one.

Background and Motivations: Provide backstories and motivations. Why does your character act the way they do? What drives them? This adds depth and makes them more three-dimensional.

4. Add Dialogue

Dialogue can break up large blocks of text and make your writing more dynamic. It reveals character, advances the plot, and provides opportunities for conflict and resolution. Ensure your dialogue sounds natural and serves a purpose.

In Detail:

Natural Speech: Write dialogue that sounds like real conversation, complete with interruptions, pauses, and colloquial language. Avoid overly formal or stilted speech.

Purposeful Dialogue: Every line of dialogue should have a purpose, whether it's revealing character, advancing the plot, or building tension. Avoid filler conversations that don't add to the story.

Subtext: Use subtext to add depth. Characters might say one thing but mean another, revealing their true feelings through what they don't say directly.

5. Use Strong Verbs

Strong verbs make your writing more vivid and energetic. They convey action and emotion effectively, making your sentences more powerful and engaging.

In Detail:

Action Verbs: Choose verbs that show precise actions. Instead of "She went to the store," say "She dashed to the store."

Avoid Weak Verbs: Replace weak verbs and verb phrases with stronger alternatives. Instead of "He was walking," say "He strode."

Emotionally Charged Verbs: Use verbs that convey specific emotions. Instead of "She was sad," say "She wept."

6. Vary Sentence Structure

Varying sentence structure keeps your writing interesting and prevents it from becoming monotonous. Mix short, punchy sentences with longer, more complex ones to create a rhythm that engages readers.

In Detail:

Short Sentences for Impact: Use short sentences to create tension, urgency, or emphasize a point. "He stopped. Listened. Nothing."

Complex Sentences for Detail: Use longer sentences to provide detailed descriptions or explain complex ideas. "As the sun set behind the mountains, the sky transformed into a canvas of oranges, pinks, and purples, casting a warm glow over the serene landscape."

Combine Different Structures: Mix simple, compound, and complex sentences to maintain a natural flow. Avoid repetitive patterns that can make your writing feel flat.

7. Introduce Conflict

Conflict is the driving force of any story. It creates tension and keeps readers invested in the outcome. Without conflict, your story can become stagnant and uninteresting.

In Detail:

Internal Conflict: Characters should struggle with internal dilemmas, fears, and desires. This adds depth and relatability.

External Conflict: Introduce obstacles and challenges that characters must overcome. This can be other characters, societal pressures, or natural forces.

Resolution: Show how conflicts are resolved, leading to character growth and plot progression. Ensure resolutions feel earned and satisfying.

8. Use Metaphors and Similes

Metaphors and similes add creativity and depth to your writing. They help readers understand complex ideas and emotions by comparing them to familiar experiences.

In Detail:

Metaphors: Directly state that one thing is another to highlight similarities. "Time is a thief."

Similes: Use "like" or "as" to make comparisons. "Her smile was like sunshine on a rainy day."

Avoid Clichés: Create original comparisons rather than relying on overused phrases. Instead of "busy as a bee," find a fresh analogy.

9. Create Suspense

Suspense keeps readers on the edge of their seats, eager to find out what happens next. Use foreshadowing, cliffhangers, and unanswered questions to build tension and anticipation.

In Detail:

Foreshadowing: Drop subtle hints about future events. This creates anticipation and a sense of inevitability.

Cliffhangers: End chapters or sections with unresolved tension or unanswered questions to compel readers to keep going.

Pacing: Control the pace of your story to build suspense. Slow down for crucial moments and speed up during action scenes.

10. Edit Ruthlessly

Great writing often emerges during the editing process. Be willing to cut unnecessary words, tighten your prose, and refine your sentences. Editing improves clarity, pace, and overall readability.

In Detail:

Cut Redundancies: Remove unnecessary words and repetitive phrases. "In my opinion, I think" can be reduced to "I think."

Focus on Clarity: Ensure each sentence conveys its intended meaning clearly and concisely.

Proofread: Check for grammar, punctuation, and spelling errors. A polished manuscript reflects professionalism and attention to detail.

[frailsituation]

Tips for writing internal conflict

1. Define the Core Dilemma

• Internal conflict occurs when a character faces a choice or emotional struggle within themselves. This dilemma should challenge their values or identity.

• How? The struggle should feel deeply personal and tied to the character’s motivations.

• Example: A character who values independence but must rely on others in a life-or-death situation.

2. Make it tied to their core values

• The conflict should challenge what the character holds dear—whether it’s their morals, desires, or goals.

• How? The inner conflict should push the character to re-evaluate their beliefs and priorities.

• Example: A soldier torn between duty and personal ethics, forced to choose between following orders and doing what’s right.

3. Amplify with external consequences

• Link internal conflict to external consequences that impact the character and those around them. The choices they face should have significant repercussions.

• How? Show how the character’s internal conflict influences their decisions in the real world.

• Example: A character haunted by guilt must choose whether to admit their past mistakes, risking their career and relationships.

4. Show the pressure building over time

• Internal conflict intensifies when it’s compounded by time, increasing stakes, or mounting external pressure.

• How? Create scenes where the character feels the weight of their choices growing heavier with every passing moment.

• Example: A character whose addiction threatens to ruin their life, struggling to break free but tempted by old habits every day.

5. Conflict arises from competing desires

• Internal conflict often stems from having two equally strong desires that cannot coexist.

• How? Put your character in situations where they must choose between these desires, both of which seem vital.

• Example: A character torn between pursuing their dream job across the country or staying to care for a dying parent.

6. Explore their fears and insecurities

• Internal conflict can also be driven by the character’s deepest fears or insecurities, which affect their actions and decisions.

• How? Fear of failure, rejection, or loss can prevent them from acting, making every decision feel like a battle.

• Example: A character who has been hurt before refuses to let anyone in, even though they deeply crave connection.

7. The power of self-sabotage

• Let the character’s internal conflict lead to self-sabotage. They may avoid decisions or create obstacles to protect themselves from facing their own feelings.

• How? Show how the character's fear or internal resistance undermines their progress.

• Example: A character constantly pushes away someone they care about because they fear their own vulnerability.

8. Use internal dialogue to show the battle

• Let readers hear the character’s internal struggle through thoughts, doubts, or justifications. Internal dialogue can make the conflict feel more immediate and real.

• How? Keep the internal dialogue sharp, reflective, and in line with the character’s voice.

• Example: “I want to tell them the truth, but what if they leave? Can I really risk that?”

9. Drive change through resolution

• The internal conflict should lead to growth or change in the character. They should evolve, learn, or make peace with their internal struggle.

• How? The resolution should feel earned and reflect the character’s journey.

• Example: A character who fears commitment learns to trust and embrace vulnerability in the face of love.

10. Let it affect the bigger picture

• The resolution of internal conflict should impact the story’s larger arc, showing how the character’s inner change leads to progress or a new direction.

• How? The resolution should tie back to the theme and forward momentum of the plot.

• Example: A character who learns to forgive themselves is able to take the final step in reconciling with a loved one, mending broken relationships.

Follow for more!

[feathersandblue]

So, full disclosure, I haven't been a Solas fan before.

I am now.

And that's because of Veilguard and the many, many ways in which I felt let down by this game.

The aspect that bothers me most is the reduction of nuance and complexity.

Rook's hero's cakewalk (because “journey” really isn't the right word) is a ready-made path that offers no deviation at all and never challenges the player in any meaningful way.

Sure, you can spend some time pondering the pros and cons of saving Treviso or Minrathous. Ultimately, it makes no difference. Rook does their best, they just can’t be in two places at once.

Same with the companion character arcs. What does it mean if you decide to you turn Emmrich into a lich? For the most part, it's idle musing. Indulgence. He’ll be happy either way, there are no real stakes. Yeah, your actions do have consequences, just not the sort of consequences that make a substantial difference. It’s the illusion of choice – reduced to cosmetics.

The problems with decisions that cost nothing is that they don’t feel like an accomplishment. They also don’t allow for character growth. Rook doesn’t change, they remain static. Even the section in the Fade where Rooks faces their regrets is easy and comparatively lightweight. Varric was killed by Solas, Harding resp. Davrin died in combat and either Bellara or Neve was abducted by Elgar’nan. It’s not like Rook’s decisions actually caused these events, it’s not like Rook actually failed through a choice they had to make that turned out to be the wrong one. Everyone was there willingly and volunteered to fight the good fight. Rook’s regrets are not about real guilt, they are about feeling sad and guilty. And that – it needs to be said – is not the same thing. At all.

At the same time, the story carefully avoids any kind of true ethical dilemma.

It's not even about the lack of mean or edgy dialogue options; that’s just a symptom. The cause is the writers’ unwillingness to let realism intrude in Rook’s fairytale – the lack of anything that would require Rook to compromise on morals, or fight temptation. Rook is never faced with any sort of moral conundrum, or allowed to act out any kind of vice that realistic characters have. In its straight-path simplicity, Rook's story is apparently written for children and people who remain child-like in their yearning for simple, uncontested truths.

Of all the sorts of conflicts that a story can offer, Veilguard carefully avoids the most realistic and (in my opinion) interesting ones: Character vs. self and character vs. society, aka, politics. The game firmly refuses to go there. To the point where it creates a completely unrealistic consensus on all sides that eliminates yet another sort of conflict: character vs. character.

If Rook and their companions would talk politics, they’d all be on the exact same side. In a two party state, they’d all cast the same vote.

I am sure that there are many players who feel comforted and reassured by that fact, who sincerely believe that this is how stories should be written. That stories should reflect the world not as it is but as they think it should be. But for everyone who likes their stories a little more realistic, that lack of meaningful interpersonal conflict, that lack of real diversity which comes not from appearance but from different cultures and opposing viewpoints amounts to a frankly cringe-worthy, artificial and juvenile surface-level interaction between characters. Or, to phrase it differently: the diversity remains skin-deep and doesn’t extend to the philosophical, and even in the few instances where it does, it shies away from the political.

Which means that the only conflicts that remain are the most boring and stereotypical ones: character vs. monsters resp. the supernatural, where all foes are evil in the blandest way (Supremacist Venatori! Fascist renegade qunari! Power-hungry necromancers!). These conflicts are resolved through exploring maps and endless, repetitive combat.

The only thing that brings a bit of nuance to the game is Solas’s story. And there is an element of character vs. character in Rook’s and Solas’s relationship, but the sad truth is that what could have been a fascinating mirrored character journey falls flat for all the reasons already explained – because where Solas is a character as layered and controversial as it gets, Rook is anything but.

Solas’s story shows how even people with the best intentions and the greatest integrity are ultimately broken by what life throws at them, both by the decisions that are forced upon them and the choices they make on their own. It shows how a prolonged war is always a sunk cost fallacy: I’ve gone this far, if I stop now, it was all for nothing.

Rook’s victories, on the other hand, come without a cost – both in terms of moral corruption and in accountability. The guilt Solas bears is real. The fight against the titans, followed by his war against the Evanuris, requires compromising his own morals, one day at a time, one century after another, he’s trying to save the world yet doomed to fail. Sacrificing the spirits to win a battle after the war has gone this far? Every single war leader around the globe would make the same decision. In fact, all of them do: They do sacrifice the lives of others if it will help them win, they do send soldies into the trenches to die, whether these soldiers want to or not, and they are rarely, if ever, truthful about the reasons why.

In a certain way, the story of the spirit of wisdom turned flesh is reminiscent of the biblical Fall of Man: the original sin. Solas has fallen, and he’s broken. In trying to heal the world, he’s trying to heal himself. The burden is too heavy, the responsibility to great, the knowledge that he is responsible for all of it too devastating. Solas’s greatest conflict is character vs. self. It has the potential to be great. In a way, it is. It’s the single redeeming quality that, depending on your interpretation of what went on behind the scenes, the writers managed to salvage from the original concept of Dreadwolf or the lone pillar that withstood all their attempts to bring it down.

Only sadly, infuriatingly, in the end, that fallen hero’s ending is put into the hands of a protagonist who judges him from the perspective of someone who has never even stumbled – not because they are wiser, braver, or kinder. No, just because the writers were gracious – or cowardly? – enough to never let them fail.

The game gives Rook a moral high ground which isn’t earned in the slightest because Rook never had to walk even a quarter of a mile in Solas’s shoes. They don’t know what they would have done in his stead, they have no idea what it actually means to see the sorry shape the world is in and know that it was your hands that shaped it. And even where Rook might actually be culpable – the interruption of Solas’s ritual that freed the remaining Evanuris – anyone is quick to assure Rook that it wasn’t their fault.

Whatever regrets Rook carries, they’re born from self-doubt and trauma response. Survivor’s guilt, mostly. When compared to Solas’s immense guilt, Rook’s regrets are, for lack of a better term, insignificant. That Rook manages to face them doesn’t mean that they are more truthful or emotionally mature, it just means that Rook’s story is a tale for children and Solas’s is not.

It’s not that I’m necessarily opposed to the idea that the player decides Solas’s fate through their actions. It’s the injustice of it all that bothers me: The player is led through a game that provides a safe space for their character, one that is devoid of any interpersonal conflict and any ethical quandary. Rooks succeeds through kindness and heroism and taking their companions on team bonding exercises.

As if Solas could have won the war against the Evanuris if he’d taken the time to take his companions on coffee dates.

The juxtaposition – Rook vs. Solas – fails, simply because of this deep divide. Rook’s story is detached from reality and yet Rook gets to be Solas’s judge, jury, and executioner. On what grounds?

As I said, right in the beginning, I haven’t been a Solas fan before. But by the end of Veilguard, I was firmly, irrevocably, Team Solas, just because I was so annoyed that the narrative put Rook in a position of moral superiority. I detested my own character. Jesus, what a goody two-shoes! I was rooting for Solas simply because his story was so much more: a genuine tragedy, a study in complexity. Rook, on the other hand, remains bland, snotty, unchanged. Untried.

The thing is, I don’t believe that my reaction was one the writers had intended. I strongly feel that they didn’t mean for me to pick up on their double standard, that they expected me to walk away fully satisfied, convinced that Rook and The Team were the Good Guys because they went on picnics and petted the griffon, their final victory well-earned and just. If only Solas had had a Team and taken care of their emotional needs – he could have taken down the Evanuris with nary a scratch!

It’s all so very disingenuous.

Rook and, by extension, the player exist in a bubble of sanitized content. That is clearly deliberate. The player is meant to like it there. (In that sense, it’s only logical that they changed the title from Dreadwolf to Veilguard.) And clearly, it does resonate with a certain kind of their player base: mostly with people, I think, who would like their real life to be a bubble too and whose only experience with moral corruption is when they find it in others.

[valeriehalla]

I have gotten a lot of messages saying that they really love the presentation of CURSE/KISS/CUTE. Often the commenter in question can’t say what exactly it is about the formatting that they appreciate, but that it just reads well and looks good. Well!!! Allow me to bare my wealth of secret knowledge for you once and for all:

I sorta just did some research into book typography...?

Here’s something you should know about web development, alright: typography on the web is really, really bad. The tools we have at our disposal—HTML and CSS—are incredibly powerful, but they are set up to fight you every step of the way towards Good Typography. When you know what you’re looking for, you can fix all the common issues quickly and easily. But it’s not easy to know what to look for, because

problematic typography is overwhelmingly the norm on the web, and

good typography is invisible.

Here’s a screenshot from CURSE/KISS/CUTE episode 0:

Now, I don’t want this post to come across as prescriptive. It is not my intention to tell you, “This is what good typography looks like, so follow my lead exactly.” I made a lot of choices with the typography of my web novel: many of those choices would not make sense in other contexts. What I want to convey to you is what those choices are, so that you will know they’re available to be made.

I mentioned that the web “fights you” when it comes to good typography. What do I mean by that? Well, check this out:

This is how that passage of text renders “by default.” In other words, this is how a web browser would render that text without any input from me about what styles to apply. It kind of sucks ass! But it also looks pretty familiar, right? This is not that far off from how a lot of websites—even websites full of prose (looking at you, AO3)—render text.

I think the most illustrative thing to do here would be to walk you through my thought process and show you, step by step, what decisions I made to turn this unstyled text into the styled version you see in the novel.

So, first things first:

1. We have got to shrink that text column.

Computer monitors... are wide. They are wider than they are tall. They are so wide, and they have so many pixels. This means you can fit a lot of characters on them. If you wanted, you could just have a wall of characters from the left side of the screen all the way to the right side. Talk about efficient!!

You should never, ever, ever do this.

This is one choice that I actually will make a prescriptive statement about, because it’s supported by quite a lot of research: fairly narrow text columns are more legible. Specifically, research seems to support the idea that a width in the range of 50 to 70 characters per line is the most comfortable for people to read*. Every font is different, so it takes a little doing to turn that “characters” figure into a pixel measurement; I went with 512 CSS pixels for the maximum width of my text column:

Isn’t that just so much nicer to read already?

*A commenter reminds me that I’d be remiss not to point out that the research on column width legibility isn’t completely conclusive. You do want to limit the width of your text columns, but going over the 70 character-per-line recommendation isn’t necessarily the end of the world, and you might have good reasons to do so. I did not: as mentioned, one of my goals was to mimic book-style typography, and books by nature have fairly restrained column widths, on account of they’re books.

2. Picking a font.

I’m not going to give you the blow-by-blow on how I decided what font to use. The short story is that I asked some designers, and one of the recommendations I got was the free font Crimson Pro, which I took a liking to immediately:

It’s just an all-around attractive serif font, but one thing I really like about it for use in a novel is its highly-visible quotation marks. They’re just kinda jumbo! They’re real big! Easy to see! In a novel, those things aren’t just ornamentation. It makes a great deal of practical sense for them to stand out just a bit. It also has a fairly large x-height, unlike a lot of the more traditional options, which is good for legibility on a computer screen.

3. Adjusting the line-height

Web browsers default to a line-height of about 1.2em, which, as you can probably tell, is quite cramped. If you go and Google “optimal line height for legibility”, you’ll get a number of results right off the bat suggesting 1.5em. Sounds good! Let’s do that:

Well... hmm. That’s definitely an improvement, but between you and me, it actually looks a bit too spacey to my eyes. I wonder why?

I’ll cut to the chase: the 1.5em recommendation makes some assumptions about the font you’re using. In Arial, the letter “A” is about 0.6em tall; in Crimson Pro, it’s about 0.5em. That means that there’s no one-size-fits-all solution to spacing your lines, because different fonts have different amounts of empty space baked in. How annoying!

Let me tell you something about the kind of nerd I am. When I had this realization, I grabbed some books off my shelf and pulled out a literal micrometer. I started measuring the line-heights against various font features to see if there were any patterns I could spot in professional typesetting. Here’s what I found:

Almost every book on my shelf spaces lines such that the distance between one baseline and the next is about three times the x-height. How cool is that? I clapped my hands like a seal when I put this together.

Adjusting the line-height to match what I observed in the wild gives us this:

It’s a subtle difference, but to my eyes it feels just right. It’s almost like magic!

4. Paragraph spacing...

Let’s address the elephant in the room. Probably the most controversial choice I made with CURSE/KISS/CUTE’s typography was to opt for book-style paragraph indentation rather than web-style paragraph spacing—like so:

I did this for a few reasons:

It’s what I’m used to. I’ve read a lot of books, and this is just the way that books are formatted. I think for something aspiring to the title of “novel”, there’s value in making it look the way a reader probably expects a novel to look.

A novel has a lot of paragraph breaks in it. A paragraph in, say, an encyclopedia entry might go on for half a page or more; whereas it is unusual for a paragraph in a modern work of narrative prose to run for more than a handful of sentences, especially in any scene with dialogue. Because paragraph breaks are so common, spacing between paragraphs in a novel results in a lot of wasted space. Also, subjectively speaking, the additional space seems to me to lend an undue amount of weight to paragraph breaks. I’m just starting a new thought; there’s no need for a 21-gun salute, you know?

Having said that, here are some good reasons you might decide not to do paragraph indentation anyway:

Doing it right requires a bit of extra legwork. Notice how the very first paragraph in the image above has no indentation. That’s because it’s the start of a new section, and the first paragraph in a section traditionally goes unindented. This is an easy detail to miss, and it can be difficult to wrangle CSS into doing it for you automatically.

Web users don’t expect it. For the first decade of the web’s existence, there was no good way to do paragraph indentation; by the time CSS rolled around and made it easy, paragraph spacing had already become the norm. And while CURSE/KISS/CUTE may be a novel, it is also, specifically, a web novel!

But it’s my house and I get to make the rules, so I went with indentation. Incidentally, there seems to be a dire lack of research into the question of whether indentation or spacing is more legible for readers—but the data that does exist appears inconclusive at best. So, the choice really does come down to vibes.

5. The tragedy of justification.

You’ll note that one way in which I did not make my web novel look like a paper novel is the text alignment. It’s un-justified: the right margin is ripsaw-ragged.

This is because it is not possible to justify text on the web.

Oh, you can try. Look right here: there’s a CSS property for it and everything. Just turn on “text-align: justify” and...

Nightmare! The interword spacing on that first line is almost as wide as the indentation!

Reader, I’m afraid that your web browser is simply too dumb. That’s not the browser’s fault: robust algorithms for justifying text without creating these distractingly huge gaps between words have existed for many decades, and modern computers are powerful enough to run them in real time with little performance impact. It’s just, uh—nobody has ever bothered to implement them into web browsers. It is the damnedest thing.

I tried, I really did. You can mitigate this problem a bit if you enable automatic hyphenation, but browsers are unfortunately also kind of dumb at hyphenating. Firefox, for example, will refuse to hyphenate any word containing a capital letter, so any sentence with a lot of proper nouns in it is a lost cause. I tried manually inserting soft hyphens with a text preprocessor I wrote myself, but still these overjustified lines plagued me: when the text column narrows, for example on a phone, even hyphens can’t save you. The line-breaking algorithm is simply too naïve to optimize for well-justified text, and that’s not something you can fix as a web developer.

As a result, my heavy-hearted recommendation is to never use text justification. It’s just too distracting.

6. And then some extra stuff just for me

I added drop-caps because it looks neat and I made the ellipses spacier because I think it looks good when it, uh, when they are spacier. I think that looks pretty good that’s just my opinion though.

That’s all! Hope you learned something bye!!!

[galedekarios]

Dragon Age: Veilguard | The Ultimate Preview Summary

shinobi602 on twitter shared this amazing in-depth summary of all new information about the game that we have so far:

Coming to PS5, Xbox Series X and PC in Fall 2024

Consoles: Quality and Performance modes (60FPS)

Photo mode is confirmed

Fully offline single player, no EA account linking, no micro-transactions'

Play as a human, elf, dwarf, or Qunari

Choose your backstory, 6 factions to choose from when you create your character, all with "deep roots in Thedas": Antivan Crows, Grey Wardens, Shadow Dragons, Veil Jumpers, Lords of Fortune, The Mourne Watch

Each faction offers 3 distinct buffs each, like being able to hold an extra potion or do extra damage against certain enemies, and the odd reference in dialogue

You can customize your Inquisitor from Dragon Age: Inquisition in the character creator and "make a few key decisions that will impact how The Veilguard begins"

There are some "killer cameos" from past games that show up

Warrior Class: Use a sword and shield or two handed weapon to send enemies flying

Rogue Class: Utilizes quick movement and reflexes. You can wield a bow or dual swords with "powerful, precise strikes for lethal damage"

Mage Class: Use magic to incinerate, freeze, electrocute and crush. Some cast from afar, while others prefer close quarters combat

Each class also has 3 sub-specializations, such as duelist, saboteur, or veil ranger for the Rogue

Classes also have unique 'resource system's, for example, the Rogue has "momentum", which builds up as you land consecutive hits, and each will always have a ranged option

One Rogue momentum attack is a "hip fire" option we saw for the Rogue's bow, letting you pop off arrows from the waist

Another momentum attack for the Warrior lets you lob your shield at enemies

Quests are more handcrafted and mission based, curated with alternate paths, secrets to discover and optional content

There are also open ended explorable areas

Party size of 3 during combat, ala Mass Effect

Combat is focused on real-time action, dodge, parry, counter, "sophisticated animation canceling and branching", using risk-reward charge attacks designed to break enemy armor layers

Enemies have elemental weaknesses and resistances, and you can chain together elemental combos for extra damage

One example is a squadmate using a gravity well attack to suck enemies in, another slowing them down, and the player then unleashing a big AOE attack

You don't take direct control of companions like past Dragon Age games, but you can still pause and issues ability commands for you and your allies

There is a hub area for the player like Skyhold and the Normandy, called The Lighthouse

Companions can eventually start romancing other characters if you opt not to romance them

Each companion also has unique missions tied to them that play into the larger story

Nudity confirmed - romance scenes can get "a little spicy"

"Incredibly deep" character creator: 5 categories including: Lineage, Appearance, Class, Faction, Playstyle

Players can also choose different body sizes and shapes

Dozens of hairstyles to choose from, with "individual strands of hair rendered separately and reacting quite remarkably to in-game physics", pulled from EA Sports

Character creator lets you adjust the lighting so you can be sure your character looks good

The team wanted to balance the look of the game with both light and darkness. "When everything is dark, nothing really feels dark. For this one, we really wanted to build that contrast again."

Skill tree is "vast", you can also set up specific companions with certain kits, from tackling specific enemy types to being more of a supporting healer or flexible all-rounders

There are tarot cards you go through during the character creation process that will let you choose decisions from past games to implement into Veilguard

The team teases you may lose some characters during the story

[jaggedamethyst]

golden boy (part 3) | jayce talis x female reader

3.3k words

content: fawk it!! part three of jayce making reader a vibrator with hextech. everyone round of applause for golden boy!! (part one, part two)

notes/warnings: 18+ minors dni, angst, oral (female receiving), some sub!jayce, unprotected sex (dont be like them!), lmk if I missed anything as always

ps: while this is the end for now, I may consider adding some parts when inspiration strikes. its been fun writing for my best guy for a few weeks now...the arcane brain rot is real and I will never stop adding to the madness. thanks for reading in advance. - amethyst 💟

series masterlist

⭑·ﾟﾟ·*:༅。.。༅:*ﾟ:*:✼✿　　✿✼:*ﾟ:༅。.。༅:*·ﾟﾟ·⭑

Being from the Undercity meant that from a young age you were particularly skilled at evasion. When Enforcers arrived, you were able to lie at the drop of a dime. At the mention of your now nonexistent family you could mask your emotions. Most importantly, you could get out of Piltover undetected. 

Slyly turning corners, you’d finally emerged on the outside. Regret filled you, then. 

You didn’t want to think of Jayce there—the fact that he would wake up alone. Truthfully you’d often reason that this was for the better, that you leaving would soften the blow of having to explain how fucked up you were. It was something you found yourself discussing often. 

“I have a particularly vested interest in this…seeing as though I also fell for a Piltie.” 

It was hard to be a Zaunite and not at least know of Vi. You’d actually met when you were younger. You swapped stories of lost families, hate for authority, and a penchant for being hardasses. 

“I didn’t fall for him, Vi. He was just there when I needed someone.” 

“Sure, but I was here, too. When that piece of shit lied to you…got married…I was here. You’re not all over me like you are with Jayce. So how do you explain that?” 

You knew it was more than just sex with him as much as you hated to admit it. But there’d been countless examples of the between-worlds love story simply not working. 

“Vi, you and the Kiramman girl didn’t even work. Again and again you two have tried and nothing…”

“Sometimes it’s just worth saying you tried. That despite everything, you opened up just that little bit.” 

You’d downed drink after drink that night—the sting barely masking the nagging at your mind to just go see him. But the sadness you’d feel was always overrun with hate. He proved you right. The cycle continued. A month had passed and he hadn’t even looked for you.

You and Vi proved similar, again. When she suggested you take up fighting to release your tension, you hadn’t even thought twice. It was yet another way to remind yourself that you deserved to feel this. Every stupid decision you’d made up until this point warranted the physical pain. 

It quickly got out of hand. 

Before Jayce became a member of the council, he didn’t make a habit of leaving Piltover. Now that he was in a position of power, he found himself in Zaun often. It was important to him that he didn’t see you, though. The twinge in the pit of his stomach had only subsided moderately at the thought of you. Until the embers in his body had completely burned out—he wouldn’t give you the satisfaction of giving in. Of being good. 

The opportunity to walk the Undercity afforded him time to observe things he’d later note in his proposition for a large-scale integration. He figured this was bigger than you somehow. If you ever did will yourself to feel even a modicum of what he felt for you, it’d be worth it to have made it safer for you. Regardless, he was still taken aback by how gritty Zaun was every time. He thought of his partner living here—hardly able to walk. 

You saw him, then. He was passing a corner, clearly in thought. Something that crossed his mind had upset him. You wondered if it was about you. What you would give to be able to smooth the creases in his face, to tell him that whatever it was would be okay, to make certain it was. 

But it wasn’t. You’d left. Again.

He should’ve expected to run into you. He’d never seen you look so disheveled; there was always an air of composure about you. But looking at you now, you’d been neglecting to take care of yourself. 

It happened so fast. As if you felt the magnetic pull of his eyes on you. In the second that you’d turned to examine him, a crack hit the side of your face. You wanted to swing back, finish the fight you started, but you figured you deserved this. You’d let the rage take over. So when the punches came down and you started to black out, you couldn’t help the smile on your face. 

_________

You jolted awake later, observing a man hobbling across the room. 

“Viktor?” 

He turned to you, “You know who I am?” 

You sat up a bit, “Of course. It’s a pleasure to meet you, although I wish it was under better circumstances.” 

“You must be the Zaunite girl.” 

You interrupted, offended by the remark. “Excuse me-“

Viktor held up a hand to stop your incoming rant, he knew the feeling too well. 

“My partner…is nothing if not consistent.” He sat down next to you, “Taking two helpless Undercity residents beneath his wing seems quite…fitting for Jayce.” 

“You’re…from Zaun?”

He nodded. “I’m sure you understand the feeling of being around someone like Jayce.” 

You nodded in response. The feeling of unease not needing further explanation. 

“Jayce mentioned to me this plan he has. To consolidate Piltover and Zaun into one entity. Again, my partner fails to recognize the intricacies of having such an ambitious plan.”

“I…didn’t know about that. Makes sense that he would be so set on creating a utopia.” 

You both laughed at that, knowing the man all too well. 

You continued, “With Jayce, I feel like I’m always seeking something out. Like I am always waiting for the other shoe to drop, you know?” You shifted in your seat, trying to explain. “If I get ahead of the bad I know is coming, I can avoid getting hurt. But that feels so…pessimistic?” 

After a while, Viktor stood again. “I would be remiss to call a person such as yourself a pessimist.” 

He slowly made his way over to a cabinet, pulling out an umbrella. 

“Despite my life's work here, I truly have nothing else to offer you except this…and time.” He pushed the umbrella into your hands, “It should rain soon. If you want to get away before he comes back, you should go now.”

You slid off of the bench that you were seated on. “But why?” 

He motioned toward the door, following behind you. “Jayce Talis is the most brilliant man I have ever known, and yet he fails to see the world with the nuance it demands.” 

There was an understanding between you again. That reconciliation was a lot to face. That although there was an inexplicable care for the man, it was hard for him to understand you both sometimes.

“Thank you.” 

——————

The umbrella did little for protecting your body as you ran through the storm, yet you’d left a mental note to thank Viktor at some point. 

Fury had bubbled in you in a split second, “Shit!” You kicked one of your chairs in frustration. The thought of Jayce going out of his way to make sure you were safe and arriving to you gone again was painful. You wanted to feel numb. The desire for nothing about Jayce Talis to ever harm you again was debilitating. 

A banging on the door made you freeze. It couldn’t…

A knock again, and the voice you longed to hear from. 

“It’s me.” 

Jayce called your name, his voice breaking with every repetition. 

You swung the door open. He looked so defeated—out of breath and covered in water. He’d clearly not thought to grab anything to shield him from the rain. 

With your usual feigned annoyance you broke the silence. “I told you to never come here.” 

There was an agreement made between you two, that you would always come to him. You weren’t embarrassed of your home, far from it. But you did hate the feeling of relinquishing control. When with Jayce, you always reserved that right to leave at your own discretion—with him here you instantly felt the restraints. 

He huffed at that, his usual apprehension replaced with exasperation. 

“Shut up.” 

He pulled you in by your neck, kissing you as if to punctuate the command. He moved you back into your house, closing the door behind you both. Every fear had evaporated from your mind. It was always so good with him. You knew he would take care of you in every way. 

Everything between you remained unspoken for now, your rain-soaked clothes finding their way to your floor. 

Jayce’s physique is one that you loved, but became rather daunting the more he’d taken control. 

He pushed you again, this time leaving you on display for him on your bed. He looked you up and down slowly. It made you nervous—the lack of readable expression on his face. When you’d finally made eye contact, he broke it quickly, reaching toward his clothes on the floor. He returned to you quickly, his body fully enveloping yours. 

He kissed your neck sweetly, a way only he could. He made note to suck down on your telltale spots—where you’d been the most sensitive. Making his way to your chest, he looked up at you with a mix of desire and hurt in his eyes. In his left hand he’d massaged your nipple between his fingers, his mouth finding the other. Your chest heaved. Your eyes fluttered shut. You were distracted. He knew the trick very well, seeing as you’d fooled him more than he could count. 

A sudden pulse and sucking sensation jolted you to attention. Jayce had a coy look on his face—and his free hand was on what you had to assume was a new prototype. 

You instinctively circled your hips toward him, craving more. He pressed you down, stopping your movement. The way he continued rubbing on your clit made you fight the urge to writhe against him. 

Your face was suddenly met with his and a peck was left on your lips. When he broke contact, he simultaneously turned the vibration up to the max. You were completely inconsolable. He watched your coherence leave your mind with a menacing smile—still refusing to utter a word. 

You wanted to say something, anything. You fought to question what this sudden change was about, why he was so adamant about tearing you apart right now. But part of you could tell that this was his way of keeping you silent. A sensation this good always left you speechless—your jaw slack and eyebrows pinched together. 

The max setting was a continued pulse and grip on your clit that you couldn’t even process. You weren’t sure where the pain and pleasure met but it was too damn good to stop. 

He kept looking at you. He knew you’d be done soon. All of the signs were there. It was sort of torturous for you to try and form words in your mind and have nothing come to fruition. 

Having him stare at you with a look of disdain in his eyes was even worse. The once yellow color that would wrap you up like the warmth of the Sun now pierced into you. 

He still coaxed you along, needing to prove a point—for you to finish. Within a few more seconds you jolted and froze against him, your legs tightening around his waist. 

He quickly brushed off your grip on his torso, moving to stand. He turned his back to you, discarding his prototype, and steadying himself with his hands on his hips. 

“Is this what you wanted?” He didn’t look at you. He didn’t have to; he knew you were confused by this entire thing. “Is this all you ever need from me? To show up, make you feel better for a while, and then watch you leave?” 

“I don’t know.” 

“What do you know? Because at this point I can’t tell.”

“Me either.”

Jayce finally turned to you, observing your head in your hands. “W-we can’t keep doing this. It’s not healthy.” 

“I know.” 

He moved a bit closer to you, surely angry now. 

“Are you going to say more than a few words to me or will this be the same as always?”

You spoke under your breath, barely audible over the sound of the rain. “What else do you want me to say, Jayce?” 

Words threatened to spill from you. The force with which you’d pushed them down had left you. A figurative steam had started to escape you, a bubbling on the verge of spilling over. Looking at Jayce was often the only catalyst you’d needed, that remained a constant today, it seemed. 

You peered over at him now, “What do you want me to say, hm? That I feel fucking stupid because I let myself feel something I swore I would never? That you’re the only person to make me feel something other than fear?” You dropped down from the bed, looking up at him. Tears that you’d held in finally met the brim of your eyes. “That,” you paused, “I care about you so much that the thought of it being more makes me want to die. That because I felt that before…with someone else…and was ruined entirely because of it that I can’t let myself be happy. Is that what you want?” You wiped your face swiftly, looking away, “Is it?” 

He surprised you when he carefully brought you into a hug. The grip of one hand on the back of your head, the other on your back was cathartic. You recounted every instance for which you’d felt safe with Jayce, there were too many to count. 

He inhaled slowly and let out an even deeper exhale. “What I want is for you to meet me where you can.” 

He pulled back a bit, his arms trailing your arms as he grasped both of your hands. He slowly sank to kneel in front of you, both knees planted to the carpet. Despite you both being completely bare, his grip around your body was far from sexual. He laid his head on you, his forehead relaxing into your lower abdomen. 

“For every night that you’re willing to stay, I promise to be with you the next day.” 

You stared ahead, the man’s head in your lower peripheral. The sheer magnitude of that kind of commitment already weighed on you. But you figured, who better to carry the load with than Jayce? You didn’t need to be strong enough to bear it alone; you knew the golden boy had enough fortitude to make the heaviest of burdens feel light. 

“Say something…please.”

You blinked, “Okay.” 

“Okay?” He leaned back, looking at your face. 

You nodded. 

The tough exterior the man had worn soon dissipated. A veil so uncomfortable for him that he didn’t recognize himself in the last few minutes. He nuzzled into you, grasping at your skin like you would disappear into thin air.

The whole ordeal had happened so quickly, you didn’t even get to comment on the way his appearance had changed. 

“I like the new hair. It really says tortured scientist to me.” 

He hadn’t actually noticed his lack of upkeep these last few weeks. He chuckled, knowing he’d pinpointed how you didn’t take care of yourself—and yet here he was. 

“Do you see what you’ve done to me? I didn’t even shave my face.” 

You brushed a piece of hair behind his ear. “I actually think the rough look is pretty sexy. Maybe we should stop talking for another month.” 

“Too soon.” 

“Is it?” You lifted a leg over his shoulder, “We shouldn’t talk about it then, right?”

He tilted his face, rubbing into the inner skin on your thigh. He nodded, but got distracted by the sight in front of him. You were already dripping, a mix of arousal from before and now. He looked up through his lashes, asking for your approval. 

“Go ahead.” 

You would think that Jayce was starving the way he started to devour you. His head between your thighs, his tongue pushing into you, and his hands kneading at your legs was a combination that always had you weak in front of him. If you somehow could stay this way forever, spread thin, you would. The added friction of the stubble on his face hurt so good. You were sure there’d be a burn on you later—but you would wear it with honor. 

In the way you admired his fingers you would give the utmost praise to Jayce’s mouth. You shivered, his tongue flattening over you, a long and final swipe collecting every drop of you. He tapped your leg on his shoulder twice before lowering it. He made a show of licking his lips while he laid back on the bed. 

“Come take what you need.” 

You’d been in this position before—the man beneath you dripping in precum. You straddled him, the muscle memory kicking in. You let your lips trail across his collarbone. You’d yet to let him in you, rubbing your wetness up and down him. You made certain he was rock hard as you slowly connected his shoulder blades in an assortment of bruises. Eventually you gripped him, circling your hole with the head of his dick. 

He rested his hands on your hips, pressing down a bit. “Please-“ 

You slowly sank onto him, letting out a puff of air at the stretch. 

Leaning toward his ear, you spoke again. “I think you’ve waited long enough.” 

Without missing a beat, you pushed up and down on him. He instinctively met you, slapping into you at a slow rhythm he knew you’d loved. You rolled your neck, the piercing in your stomach was worth the time apart. You’d wait for him, you thought. It was the least you could do after he’d been so understanding with you. A month…a year…any amount of time was worth seeing him splayed so pretty beneath you. 

The wet sounds of you two slowly working each other could have been considered lewd had it not been for Jayce’s whimpers. Suddenly, the sounds bouncing off your walls seemed rather sweet. 

“Mmm, f-fuck,” and he continued like that for a while. Resounding sounds of pleasure and pain vibrated in your ears—urging you to speed up. 

Your deliberate circlings into him had become less controlled bounces. You were close. It didn’t matter how much longer, Jayce always found a way to finish with you. 

“C-can I?” He looked between you, the way you molded together so well. He always asked before he came in you. You definitely should’ve cared more about the implications, but your fervent nods made him snap up into you even harder. 

He noticed your irregular movement, flipping you two over. He was above you now—a sight you were getting more familiar with these days. An inadvertent smile found your lips, then, as he scrambled beside you. He immediately started the vibration on your clit, pumping into you at the same time. You clawed at his back, your walls squeezing into him, coaxing the release out of him. 

“Need you to cum, baby. Let me feel you,” he uttered between moans. 

“Jayce, I-“ 

“Its okay…its all okay.” 

He always had a way with words. Even when the situation found you both entangled with one another—he found a way to reassure you that you were safe. The thought alone had your legs wrapped around his back, finally finishing with him. Your entire body pulsed as he worked you thoroughly. He slipped away from you with a groan, his hand swiping at you. Before you could protest, he sucked on a drenched finger, cleaning it completely. 

“Sweeter than I remember.” 

You both laid there, heaving for breath but not a word exchanged. Out of the corner of your eye, you saw Jayce fighting sleep. Without thinking, you reached to turn off the lights, draping yourself over his chest. He sighed and kissed your forehead—finally allowing himself rest. 

——————

Jayce woke in the morning, the Sun’s rays meeting his eyelids with a heat that forced him to relinquish sleep. He felt around for you but as he’d suspected…nothing. He craned his head to the side, eyebrows raising a bit. 

“Sorry, did I wake you?” 

You were there. 

You scrambled a bit, “I’m sorry, I stepped out and went to the Lanes really quick. Vander’s not the best cook but I figured you might be hungry…I’m starving-“

He let out a breath he’d been holding, “It’s good to see you.” 

You smiled, “You too.” 

[bloomzone]

2025: #2 u are the main character of ur life

✒️.U.NEED.TO.GET.CRAZY.ABOUT.UR. LIFE .THIS is ur life. your story, your movie. And guess what? You’re the main character. But here’s the problem—you’re sitting there, acting like you’re just an extra. Let me ask you something: when are you going to wake up? When are you going to stop living like someone else is writing your script? Because newsflash—nobody else cares as much about your story as YOU should.

N1 You’re Not Here to Be Average

Do you feel it? That spark inside you? The one that says you’re made for something bigger? Stop shoving it down. Stop telling yourself, 'I’m not special,' or, 'I’ll never be that person.' Because let me tell you something—you already ARE that person. The only difference between you and the version of you that you dream about? Action. Average is safe, but it’s boring. U NEED TO KNOW Being 'okay' is easy, but it’s unfulfilling. You weren’t put on this planet to blend in. You were born to stand out, to do something, to leave a mark. But first, you have to believe that. You have to take risks. You have to dare to be seen, to be heard, to be ALIVE.

N2 Get Obsessed with Yourself

This is the part where people get uncomfortable, but IDGASS . You need to fall in love with YOU. Not in a shallow, fake, selfie-obsessed way—but deeply, madly, passionately in love with the person you are becoming.Spend time with yourself. Take yourself out on dates. Sit in silence and listen to your thoughts. Who are you, really? What do you want? Not what society wants, not what your parents want, not what your friends think is cool—what do YOU want?Get crazy about discovering your passions. Throw yourself into books, art, music, whatever lights you up inside. Because the more you pour into yourself, the more unstoppable you become. You’re not just living life; you’re creating it. So why not make it something spectacular?

N3 Stop Waiting for Permission

Why are you waiting? Waiting for someone to tell you you’re good enough? Waiting for the 'right time'? BRO WTF Let me tell you something nobody is coming to give you permission. Nobody is going to hand you your dream life wrapped up in a bow. You have to go out there and TAKE IT.Stop looking for signs. Stop waiting for everything to feel perfect. It’s messy, it’s chaotic, and sometimes it’s downright terrifying—but that’s the beauty of it. The magic happens when you stop overthinking and just DO. Take the leap, even if you don’t feel ready. Life isn’t about being ready—it’s about showing up, again and again, until you create the life you can’t stop dreaming about AND THIS IS DISCIPLINE

N4 Reclaim Your Power

Let’s get one thing straight: you are powerful. Not in a vague, 'manifestation vibes' kind of way, but in a real, tangible way. Every decision you make is a choice. Every habit you keep is a vote for the kind of person you want to be.But here’s the catch—every time you let someone else control your narrative, you give away a piece of that power. Every time you shrink yourself to fit someone else’s expectations, you lose a little more. Stop giving it away. Own your voice. Own your choices. Own your life.You are the architect of your story. So start building something worth remembering. And if people don’t like it? If they don’t 'get' you? Let them go. Your life is not a democracy it’s YOUR kingdom. Rule it unapologetically.

N5 Romanticize the Hell Out of Everything

Here’s the secret nobody tells you: life is as magical as you decide to make it. Stop waiting for the big moments—graduation, the 'dream job'...—to feel alive. Start finding beauty in the small, ordinary, quiet things.Make your morning coffee an event. Cook ur dinner by urself. Write love letters to urself. Turn sunsets into poetry. Life is happening right now, and if you keep rushing to the 'next thing,' you’re going to miss it.Romanticizing your life isn’t about pretending everything is perfect. It’s about choosing to see the magic, even in the mess. Because when you do that, life stops feeling like something you’re just surviving—and starts feeling like something worth celebrating.

This is Your one life. Your one shot. So stop living like you have forever. Stop waiting, stop hiding, stop playing small. You are the main character of this story, and it’s time to act like it. Get crazy about your life. Get obsessed. Because when you do, everything changes.Now go out there and make something beautiful I'm proud of u 143

@bloomzone 📇

[infinitelystrangemachinex]

massages forehead So Ambessa hid Mel away because she was a weapon in the literal sense, a mage. But Ambessa came to Piltover for Hextech? And Ambessa had nothing to say to Mel about her powers having visibly awakened? Even when Mel offered to go with Ambessa, giving her the ultimate opportunity to make Mel a weapon for real? And Ambessa made no attempt to find or retrieve Mel - not just her daughter and the remnants of the family Ambessa professes to love, but also her ultimate weapon - when she disappeared? And Ambessa trusted Singed and Viktor on their home turf - neither of them hiding how insane and self-serving they are with every reason to take over Ambessa's soldiers or just blatantly turn on her as soon as it benefits them - more than she trusted Mel? While Caitlyn (and by extension Piltover) was visibly and clearly falling away from Ambessa's teachings before Ambessa's eyes? (as if getting rid of certain people allows piltover to get rid of fascism but we won't get into All That)

Not only do I struggle to be hyped for Mel's powers beyond how amazing and beautiful she looks, but I can't help but feel like Mel is somehow less powerful in season 2 than she was in season 1, and not in an interesting way. As if Mel's ability to bend all of Piltover politics and economics to her will in season 1 now means nothing in season 2? You can argue that Jinx's attack led directly to Mel losing ground in Piltover - because I expected Mel to have to claw back that power without being able to rely on people who are too easily seduced by Ambessa and authoritarianism, and she would have to get creative to go toe to toe with her mother. I expected pushback to her mage identity that she would have to navigate. But instead this went either unwritten, or was ignored or discarded. Instead Mel is removed from the main plot, cutting her off from what made her the most interesting - only for all of Mel's very real talents, her very real powers and abilities, to be not only translated but REPLACED with magical powers she doesn't know how to control, and by the finale, those magic powers are the only powers that are considered real. Mel takes a backseat to Piltover's governing and decisions, a backseat to Jayce of all people who was not only new to politics mere months ago but made poor governing, strategic, and diplomatic decisions when he had that power. In season 1 Mel stayed off the "throne" but she did pull its strings one way or the other, and she makes no attempt at this in season 2

In my least generous suspicions, Mel was gentled and quieted to capitulate to an agenda for other characters who had to be correct and heroic - or wrong and villainous - no matter what the leadup narrative said, given her powers to help sell the game and set up future shows, and was effectively ejected from the Arcane story with faceless soldiers and a role she doesn't want because she was inconvenient there

[aquamystic]

what kind of trope will your next relationship be like?

hiiii! i am back again trying to help you romanticize your life because reality kinda... sucks sometimes SO let's bring some cool romantic tropes and see what your next relationship will be like!! remember that it is mostly to have fun and - again - to appreciate the beauty of our life!! 🌷 basically, if your next love story was a movie, what kind of trope would it be?

it will not speak to everyone so just let it go! 🧚🏻‍♀️

choose the picture you feel most called to or that sparks a memory! 💫

pile 1.

enemies to lovers. hot passionate tension. strong disgust yet incredible chemistry. constant fighting and feeling like fate is against you. you both have tempers and you enjoy annoying the others, especially when it comes to what you believe in. there is some opposition between your views on life and that creates exciting debates. slowly, you will both realize your feelings but all this tension and an external situation will make you deny all those feelings - although the sexual tension is hard to ignore. your lover is fiery, aggressive, hot, passionate, fun. before completely exploring all this chemistry, you are separated by fate and you try to convince yourself that it does not matter, that you do not care - but you do. it feels like you have not been able to really live it, to fully enjoy it and it feels bitter. but you will start to fight for it because you will both realize that this potential is rare to find and that it can’t just go to waste. the electricity when you touch them can’t be ignored and just forgotten. so you fight for it. they might help you heal your inner child, let you loosen up a little and well, they will appreciate you in your worst state because they will be very much aware of your WORST side but you will realize that someone loves you in your worst and that feels very healing.

pile 2.

age difference or one of them has not lived as much as the other. spiritual experience. soulmate kind of love. adrenaline. feeling complete - finally. perhaps someone who is of a different ethnicity. one of the two is younger or less mature but brings so much energy and life to the older / more mature one who gets to share all his experiences. very passionate and loving. love at first sight even. something is preventing them to reunite but the younger one is ready to rise above society’s expectations that appear dull and dumb. risking everything together and going on crazy adventures. also, impossible love because of hierarchy : a royal, a servant or a boss, a subordinate. discovering what life really is about together. your love story will feel like a hurricane, you or your person will just storm into your life and destroy every conceptions and representations you have of love and even of life. one of the two is very unpredictable but they have a heart of gold while the other feels very much broken (i was listening to the shining by the neighbourhood and the lyrics stuck for this group). one of the two could feel like they have the weight of the world on their shoulders and bam, here arrives this little ball of energy who lives life to the fullest. very refreshing love, like a breath of fresh air.

pile 3.

i hate everyone but you and everyone hates me but you. two people against the world. no one can defy us. the other is their home. could also be a third-party situation : one of them is the conventionally attractive love interest you are supposed to fall in love with but this other person… there is something about them you can’t deny. they are better than most humans you know. they are all you care about. the decision is taken but others do not agree with this. you are a powerful queen, rich and destined to compromise for your country. but there is this one person - enemy of the nation, old friend of lesser condition - that you feel is your real lover deep within. they are your home. the solution to your loneliness. the remedy to your broken heart. feeling guilty because of all those expectations on you. but you can’t listen to them, you want to feel selfish and listen to your heart. maybe you will break their heart at first - or the other way around - and you will have some time apart before reuniting. maybe they are a childhood friend you lost too, someone you hurt. but after this loss and hurt, you will be regretting and when you see them again… wow, all the anger, frustration and love will resurface. it will take some time again but at the end, you will be together and it feels like life is finally complete.

[zhongrin]

zhongrin © 2024 ❥ do not repost, plagiarize, translate, or feed into ai.

tail of a dragon.

featuring... ❥ zhongli

involves... ❥ minors dni, gn!reader, dragon!li, fluff, crack, monsterfucking(?), cannibalism innuendos(??), rambles/headcanon -> short drabble format

at first, i thought zhongli's echo doesn't show up when it's raining (i was in the middle of fighting the oceanid boss). and it made me think; what if his dragon side absolutely abhor rainwater? he's still always a gentleman, of course ー giving you his coat to use as an umbrella upon unexpected downpours; but it's funny to think that inwardly he's just silently screeching something along the line of "curse the rainwater in my shoes curse the rainwater in my hair this does not bring joy at all" within the confines of his lizard brain. he will most definitely make excuses of being cold from the rain and insists on bathing together afterward, too. you may think he's trying to seduce you, but in reality, this old dragon just wants the icky cold rainwater out of his hair.

and then, i noticed that i was wrong ー it gets hidden when any sort of combat happens (i'm not sure if this is an iOS-only decision to conserve resources so that processing power for particle effects can be allocated to the fight's particle effects, or if it's a design decision because they don't want it to interfere with the battle experience).

and i've decided i shall think of it as a zhongli equivalent of men cracking their neck before they get serious. it's not exactly his real tail, after all - he's consciously controlling it, all because you wished he would show his draconic features more often, but he can't really have his horns or tail out in public. hence its disappearance whenever he has to focus that consciousness into something else.

this also means the shiny golden apparition would be nowhere to be found whenever he's intent on pleasuring you... but, perhaps if you rile him enough, you'll be subjected to a very solid dragon's tail, as majestic and mesmerizing as it is deadly, wrapped around your waist as he devours his favorite meal and milk your pleasure until you're all loose for his cocks to sink into the soaked depths of your needy heat.

even though your husband might seem to be all in control and composed, all gentle smiles and the occasional mischief-filled smirks, his tail is another story entirely - the man may not know of the phrase 'cuteness aggression', but he may as well be the personification of it. his mind constantly think about how adorable you are, soft and squishy and mouthwateringly delectable, constantly warring with his own mind over wanting to sink his teeth and nibble your pliant flesh. it lashes, it slithers, it squeezes, and it's unashamedly honest in its unrestrained movements, reflective of his desires in its rawest form. it'll make sure its hard scales imprints on your skin - a unique mark to accompany the mating bite he'll generously lap and suckle on. you're akin to a sweet treat he wants to lick and nip and scratch and devour. lucky for you, his patience and self-control has been tempered and honed for more than six thousand years.

and if your mind decides to conjure any sinful fantasies involving that extra appendage of his, why not tell him? who knows, perhaps you'll arouse a certain part of his draconic brain. your husband is a good listener, but he's also an achiever, after all.

[mostlysignssomeportents]

Company that makes millions spying on students will get to sue a whistleblower

Yesterday, the Court of Appeal for British Columbia handed down a jaw-droppingly stupid and terrible decision, rejecting the whistleblower Ian Linkletter’s claim that he was engaged in legitimate criticism when he linked to freely available materials from the ed-tech surveillance company Proctorio:

https://www.bccourts.ca/jdb-txt/ca/23/01/2023BCCA0160.htm

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/04/20/links-arent-performances/#free-ian-linkletter

It’s been a minute since Linkletter’s case arose, so I’ll give you a little recap here. Proctorio is a massive, wildly profitable ed-tech company that sells a surveillance tool to monitor students while they take high-stakes tests from home. The tool monitors the student’s computer and the student’s face, especially their eye-movements. It also allows instructors and other personnel to watch the students and even take control of their computer. This is called “remote invigilation.”

This is ghastly in just about every way. For starters, Proctorio’s facial monitoring software embeds the usual racist problems with machine-learning stuff, and struggles to recognize Black and brown faces. Black children sitting exams under Proctorio’s gimlet eye have reported that the only way to satisfy Proctorio’s digital phrenology system is to work with multiple high-powered lights shining directly in their faces.

A Proctorio session typically begins with a student being forced to pan a webcam around their test-taking room. During lockdown, this meant that students who shared a room — for example, with a parent who worked night-shifts — would have to invade their family’s privacy, and might be disqualified because they couldn’t afford a place large enough to have private room in which to take their tests.

Proctorio’s tools also punish students for engaging in normal test-taking activity. Do you stare off into space when you’re trying through a problem? Bzzzt. Do you read questions aloud to yourself under your breath when you’re trying to understand their meanings? Bzzzt. Do you have IBS and need to go to the toilet? Bzzzt. The canon of remote invigilation horror stories is filled with accounts of students being forced to defecate themselves, or vomit down their shirts without turning their heads (because looking away is an automatically flagged offense).

The tragedy is that all of this is in service to the pedagogically bankrupt practice of high-stakes testing. Few pedagogists believe that the kind of exam that Proctorio seeks to recreate in students’ homes has real assessment merit. As the old saying goes, “Tests measure your ability to take tests.” But Proctorio doesn’t even measure your ability to take a test — it measures your ability to take a test with three bright lights shining directly on your face. Or while you are covered in your own feces and vomit. While you stare rigidly at a screen. While your tired mother who just worked 16 hours in a covid ward stands outside the door to your apartment.

The lockdown could have been an opportunity to improve educational assessment. There is a rich panoply of techniques that educators can adopt that deliver a far better picture of students’ learning, and work well for remote as well as in-person education. Instead, companies like Proctorio made vast fortunes, most of it from publicly funded institutions, by encouraging a worse-than-useless, discriminatory practice:

https://pluralistic.net/2021/06/24/proctor-ology/#miseducation

Proctorio clearly knows that its racket is brittle. Like any disaster profiteer, Proctorio will struggle to survive after the crisis passes and we awaken from our collective nightmare and ask ourselves why we were stampeded into using its terrible products. The company went to war against its critics.

In 2020, Proctorio CEO Mike Olsen doxed a child who complained about his company’s software in a Reddit forum:

https://pluralistic.net/2020/07/01/bossware/#moral-exemplar

In 2021, the reviews for Proctorio’s Chrome plugin all mysteriously vanished. Needless to say, these reviews — from students forced to use Proctorio’s spyware — were brutal:

https://pluralistic.net/2021/09/04/hypervigilance/#radical-transparency

Proctorio claims that it protects “educational integrity,” but its actions suggest a company far more concerned about the integrity of its own profits:

https://pluralistic.net/2022/02/16/unauthorized-paper/#cheating-anticheat

One of the critics that Proctorio attacked is Ian Linkletter. In 2020, Linkletter was a Learning Technology Specialist at UBC’s Faculty of Education. His job was to assess and support ed-tech tools, including Proctorio. In the course of that work, Linkletter reviewed Proctorio’s training material for educators, which are a bonanza of mask-off materials that are palpably contemptuous of students, who are presumed to be cheaters.

At the time, a debate over remote invigilation tools was raging through Canadian education circles, with students, teachers and parents fiercely arguing the merits and downsides of making surveillance the linchpin of assessment. Linkletter waded into this debate, tweeting a series of sharp criticisms of Proctorio. In these tweets, Linkletter linked to Proctorio’s unlisted, but publicly available, Youtube videos.

A note of explanation: Youtube videos can be flagged as “unlisted,” which means they don’t show up in searches. They can also be flagged as “private,” which means you have to be on a list of authorized users to see them. Proctorio made its training videos unlisted, but they weren’t private — they were visible to anyone who had a link to them.

Proctorio sued Linkletter for this. They argued that he had breached a duty of confidentiality, and that linking to these videos was a copyright violation:

https://pluralistic.net/2020/10/17/proctorio-v-linkletter/#proctorio

This is a classic SLAPP — a “strategic litigation against public participation.” That’s when a deep-pocketed, thin-skinned bully, like Proctorio, uses the threat of a long court battle to force their critics into silence. They know they can’t win their case, but that’s not the victory they’re seeking. They don’t want to win the case, they want to win the argument, by silencing a critic who would otherwise be bankrupted by legal fees.

Getting SLAPPed is no fun. I’ve been there. Just this year, a billionaire financier tried to force me into silence by threatening me with a lawsuit. Thankfully, Ken “Popehat” White was on the case, and he reminded this billionaire’s counsel that California has a strong anti-SLAPP law, and if Ken had to defend me in court, he could get a fortune in fees from the bully after he prevailed:

https://twitter.com/doctorow/status/1531684572479377409

British Columbia also has an anti-SLAPP law, but unlike California’s anti-SLAPP, the law is relatively new and untested. Still, Proctorio’s suit against Linkletter was such an obvious SLAPP that for many of us, it seemed likely that Linkletter would be able to defend himself from this American bully and its attempt to use Canada’s courts to silence a Canadian educator.

For Linkletter to use BC’s anti-SLAPP law, he would have to prove that he was weighing in on a matter of public interest, and that Proctorio’s copyright and confidentiality claims were nonsense, unlikely to prevail on their merits. If he could do that, he’d be able to get the case thrown out, without having to go through a lengthy, brutally expensive trial.

Incredibly, though, the lower court found against Linkletter. Naturally, Linkletter appealed. His “factotum” is a crystal clear document that sets out the serious errors of law and fact the lower court made:

https://drive.google.com/file/d/1aB1ztWDFr3MU6BsAMt6rWXOiXJ8sT3MY/view

But yesterday, the Court of Appeal upheld the lower court, repeating all of these gross errors and finding for Proctorio:

https://www.bccourts.ca/jdb-txt/ca/23/01/2023BCCA0160.htm

This judgment is grotesque. It makes a mockery of BC’s anti-SLAPP statute, to say nothing of Canadian copyright and confidentiality law. For starters, it finds that publishing a link can be a “performance” of a copyrighted work, which meant that when Linkletter linked to the world-viewable Youtube files that Proctorio had posted, he infringed on copyright.

This is a perverse, even surreal take on copyright. The court rejects Linkletter’s argument that even Youtube’s terms of service warned Proctorio that publishing world-viewable material on its site constituted permission for people to link to and watch that material.

But what about “fair dealing” (similar to fair use)? Linkletter argued that linking to a video that shows that Proctorio’s assurances to parents and students about its products’ benign nature were contradicted by the way it talked to educators was fair dealing. Fair dealing is a broad suite of limitations and exceptions to copyright for the purposes of commentary, criticism, study, satire, etc.

So even if linking is a copyright infringement (ugh, seriously?!), surely it’s fair dealing in this case. Proctorio was selling millions of dollars in software to public institutions, inflicting it on kids whose parents weren’t getting the whole story. Linkletter used Proctorio’s own words to rebut its assurances. What could be more fair dealing than that?

Not so fast, the appeals panel says: they say that Linkletter could have made his case just as well without linking to Proctorio’s materials. This is…bad. I mean, it’s also wrong, but it’s very bad, too. It’s wrong because an argument about what a company intends necessarily has to draw upon the company’s own statements. It’s absurd to say that Linkletter’s point would have been made equally well if he said “I disbelieve Proctorio’s public assurances because I’ve seen seekrit documents” as it was when he was able to link to those documents so that people could see them for themselves.

But it’s bad because it rips the heart out of the fair dealing exception for criticism. Publishing a link to a copyrighted work is the most minimal way to quote from it in a debate — Linkletter literally didn’t reproduce a single word, not a single letter, from Proctorio’s copyrighted works. If the court says, “Sure, you can quote from a work to criticize it, but only so much as you need to make your argument,” and then says, “But also, simply referencing a work without quoting it at all is taking too much,” then what reasonable person would ever try to rely on a fair dealing exemption for criticism?

Then there’s the confidentiality claim: in his submissions to the lower court and the appeals court, Linkletter pointed out that the “confidential” materials he’d linked to were available in many places online, and could be easily located with a Google search. Proctorio had uploaded these “confidential” materials to many sites — without flagging them as “unlisted” or “private.”

What’s more, the videos that Linkletter linked to were in found a “Help Center” that didn’t even have a terms-of-service condition that required confidentiality. How on Earth can materials that are publicly available all over the web be “confidential?”

Here, the court takes yet another bizarre turn in logic. They find that because a member of the public would have to “gather” the videos from “many sources,” that the collection of links was confidential, even if none of the links in the collection were confidential. Again, this is both wrong and bad.

Every investigator, every journalist, every critic, starts by looking in different places for information that can be combined to paint a coherent picture of what’s going on. This is the heart of “open source intelligence,” combing different sources for data points that shed light on one another.

The idea that “gathering” public information can breach confidentiality strikes directly at all investigative activity. Every day, every newspaper and news broadcast in Canada engages in this conduct. The appeals court has put them all in jeopardy with this terrible finding.

Finally, there’s the question of Proctorio’s security. Proctorio argued that by publishing links to its educator materials, Linkletter weakened the security of its products. That is, they claim that if students know how the invigilation tool works, it stops working. This is the very definition of “security through obscurity,” and it’s a practice that every serious infosec professional rejects. If Proctorio is telling the truth when it says that describing how its products work makes them stop working, then they make bad products that no one should pay money for.

The court absolutely flubs this one, too, accepting the claim of security through obscurity at face value. That’s a finding that flies in the face of all security research.

So what happens now? Well, Linkletter has lost his SLAPP claim, so nominally the case can proceed. Linkletter could appeal his case to Canada’s Supreme Court (about 7% of Supreme Court appeals of BC appeals court judgments get heard). Or Proctorio could drop the case. Or it could go to a full trial, where these outlandish ideas about copyright, confidentiality and information security would get a thorough — and blisteringly expensive — examination.

In Linkletter’s statement, he remains defiant and unwilling to give in to bullying, but says he’ll have to “carefully consider” his next step. That’s fair enough: there’s a lot on the line here:

https://linkletter.opened.ca/stand-against-proctorios-slapp-update-30/

Linkletter answers his supporters’ questions about how they can help with some excellent advice: “What I ask is for you to do what you can to protect students. Academic surveillance technology companies would like nothing more but for us all to shut up. Don’t let them silence you. Don’t let anyone or anything take away your human right to freedom of expression.”

Today (Apr 21), I’m speaking in Chicago at the Stigler Center’s Antitrust and Competition Conference. This weekend (Apr 22/23), I’m at the LA Times Festival of Books.

[Image ID: A girl working on a laptop. Her mouth has been taped shut. Glaring out of the laptop screen is the hostile red eye of HAL9000 from '2001: A Space Odyssey.' Behind them is a tattered, filthy, burned Canadian flag.]

Image: Ingo Bernhardt https://www.flickr.com/photos/spree2010/4930763550/

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/

Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

Eleanor Vladinsky (modified) https://commons.wikimedia.org/wiki/File:Canadian_flag_against_grey_sky.jpg

CC BY 4.0 https://creativecommons.org/licenses/by-sa/4.0/deed.en

[thewriteadviceforwriters]

Master Dialogue Writing Techniques for Engaging Fiction (For Writers)

(Beware, long post!)

As fiction writers, we all know that effective dialogue is essential for bringing our stories and characters to life. After all, the way our protagonists, antagonists, and supporting players speak to one another is one of the primary ways readers get to know them on a deep, intimate level. Dialogue reveals personality, uncovers motivation, and propels the narrative forward in a way that felt narration simply can't match.

But nailing natural, compelling dialogue is easier said than done. It's a craft that takes serious skill to master, requiring writers to have a keen ear for authentic speech patterns, a nimble handle on subtext and implication, and the ability to strike that delicate balance between being true to real-world conversation while also keeping things snappy, dynamic, and laser-focused on the story at hand.

If you're someone who struggles with crafting dialogue that truly sings, never fear. In this in-depth guide, I'm going to dive deep into the techniques and best practices that will help you elevate your dialogue writing to new heights. By the end, you'll have a toolbox full of strategies to ensure that every exchange between your characters is as gripping, revealing, and unforgettable as possible.

The Fundamentals of Effective Dialogue

Before we get into the more advanced nuances of dialogue writing, let's start by covering some of the foundational principles that all great fictional conversations are built upon:

Reveal Character One of the primary functions of dialogue is to give readers a window into who your characters are as people. The way they speak — their word choices, their tone, their body language, their turns of phrase — should provide vivid insight into their personalities, backgrounds, values, quirks, and emotional states.

Think about how much you can glean about someone just from how they communicate in real life. Do they use a lot of slang and shorthand? Are they verbose and flowery with their language? Do they struggle to make eye contact or fail to respond directly to questions? All of these subtle linguistic cues are powerful tools for crafting multi-dimensional characters.

Drive the Plot Forward While revelations about character are crucial, you also want to ensure that your dialogue is constantly pushing the story itself forward. Each exchange should feel purposeful, moving the narrative along by introducing new information, triggering plot points, creating conflict, or prompting characters to make pivotal decisions.

Dialogue that feels aimless or extraneous will ultimately bore readers and detract from the forward momentum of your story. Every line should have a clear intent or function, whether it's uncovering a hidden truth, setting up a future complication, or escalating the tension in a high-stakes moment.

Establish Distinct Voices In a story featuring multiple characters, it's crucial that each person has a clearly defined and differentiated way of speaking. Readers should be able to tell who's talking just from the rhythm, diction, and personality of the dialogue, without any additional context clues.

This doesn't mean every character has to have an over-the-top, hyper-stylized way of communicating. In fact, the most effective character voices often feel grounded and natural. But there should still be distinct markers — whether it's word choice, sentence structure, tone, or speech patterns — that make each person's voice instantly recognizable.

Convey Subtext While the literal words being spoken are important, great dialogue also traffics heavily in subtext — the unspoken emotional undercurrents, power dynamics, and hidden agendas that simmer beneath the surface of a conversation.

The most compelling exchanges happen when characters are communicating on multiple levels simultaneously. Perhaps they're saying one thing out loud while their body language and tone convey a completely different sentiment. Or maybe they're engaged in a subtle war of wits, trading verbal jabs that reveal deeper wells of resentment, attraction, or vulnerability.

Mastering the art of subtext is key to creating dialogue that feels layered, lifelike, and imbued with dramatic tension.

Strategies for Writing Snappy, Realistic Dialogue

Now that we've covered the foundational principles, let's dive into some specific techniques and best practices that will take your dialogue writing to the next level:

Omit Unnecessary Details One of the biggest mistakes many writers make with dialogue is bogging it down with too much extraneous information. In real life, people rarely speak in perfectly composed, grammatically correct full sentences. We stumble over our words, interrupt each other, trail off mid-thought, and pack our speech with filler words like "um," "uh," and "you know."

While you don't want to go overboard with mimicking that messiness, you should aim to strip your dialogue of any overly formal or expository language. Stick to the essentials — the core thoughts, feelings, and information being exchanged — and let the subtext and character voices do the heavy lifting. Your readers will fill in the gaps and appreciate the authenticity.

Master the Art of Subtext As mentioned earlier, crafting dialogue that's rich in subtext is one of the keys to making it feel gripping and lifelike. Think about how much is often left unsaid in real-world conversations, with people dancing around sensitive topics, conveying hidden agendas, or engaging in subtle power struggles.

To layer that sense of unspoken tension into your own dialogue, consider techniques like:

• Having characters contradict themselves or say one thing while their body language says another

• Utilizing loaded pauses, interruptions, and moments of uncomfortable silence

• Injecting subtle sarcasm, skepticism, or implication into a character's word choices

• Allowing characters to talk past each other, missing the unspoken point of what the other person is really saying

The more you can imbue your dialogue with that layered, emotionally-charged subtext, the more it will resonate with readers on a deeper level.

Establish Distinct Voices As mentioned earlier, ensuring that each of your characters has a clearly defined and differentiated speaking voice is crucial for great dialogue. But how exactly do you go about accomplishing that?

One effective strategy is to give each person a unique set of verbal tics, idioms, or speech patterns. Maybe one character is prone to long-winded, flowery metaphors, while another speaks in clipped, efficiency-minded sentences. Perhaps your protagonist has a habit of ending statements with questioning upticks, while the sarcastic best friend always punctuates their barbs with an eye roll.

You can also play with differences in diction, syntax, and even accent/dialect to further distinguish how your characters communicate. The key is to really get to know the unique personality, background, and psychology of each person — then let those elements shine through in how they express themselves.

Lean Into Conflict and Confrontation When it comes to crafting gripping dialogue, conflict is your friend. The most compelling exchanges often arise from characters butting heads, engaging in verbal sparring matches, or working through deep-seated tensions and disagreements.

Conflict allows you to showcase the high stakes, unresolved needs, and deeper emotional currents that are driving your characters. It forces them to make bold choices, reveals aspects of their personalities that might not otherwise surface, and generates the kind of dramatic tension that will really hook your readers.

Of course, you'll want to avoid making every single dialogue scene a full-blown argument. But learning to sprinkle in well-placed moments of friction, confrontation, and clashing agendas is a surefire way to elevate the energy and impact of your character interactions.

Read Your Dialogue Out Loud One of the most valuable tricks for ensuring your dialogue sounds natural and lifelike is to read it aloud as you're writing. Hearing the words out loud will quickly expose any clunky phrasing, overly formal grammar, or inauthentic rhythms that would otherwise go unnoticed on the page.

Pay close attention to how the dialogue rolls off your tongue. Does it have a smooth, conversational flow? Or does it feel stilted and unnatural? Are your characters' unique voices shining through clearly? Are there any spots where the back-and-forth starts to drag or feel repetitive?

Actively listening to your dialogue — and making adjustments based on how it sounds in the real world — is an essential part of the writing process. It's one of the best ways to refine and polish those character interactions until they feel truly alive.

Hopefully, this can help you all!

The key is to always keep your focus on authenticity. Ask yourself: how would real people actually speak?

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!