#so I’ve written a bit of original fiction

[writingquestionsanswered]

How do you take a side female character and make them the mc? We all know how female characters get treated in media whether that be films, shows or anime, you can forget any decent writing from a SIDE female character. So what I'm trying to say I really like this one character that I think would have the potential to be written sooo beautifully but I don't know how to go about that. Like I want to add more nuances to her character without totally changing her entire personality because I do like her original self and if I do that I won't be able to recognize her, y'know? But I wanna make her more complex, add more story to her, give her the same treatment like you would to a male character.

Fan-Fiction: Fleshing Out a Secondary Character

When a side character hasn't been explored much in canon, there's really no way you can flesh them out without changing things a little bit... because you're filling in details where none existed before. That's bound to change things a little. The key is to do it thoughtfully so that you're maintaining the integrity of what's already there.

One thing you can do is try to boil down the character's personality to those key elements... the things that really make them who they are... the things you really can't change without significantly altering the character. Those are the elements you want to guard fiercely as you flesh out the nuances of the character. However, other aspects can be played with if you do so thoughtfully. For example, maybe there have been a few moments in canon where this character was shown as being "overly emotional" and that's not who you think they really are. One option would be to establish that those were moments where the character was pushed to their limits, so this is not normal behavior for them. Another option would be to establish that they were going through something at the time that made them more emotional. A third option would be to show that something has changed since then... perhaps now they are more confident and sure of themselves, or maybe they've just learned better coping techniques. Either way, if you explain the change, you're not significantly altering who they are. You're just changing them in a way that makes sense and doing it thoughtfully.

Another great way to flesh out side characters is to look for canon hints at their personal lives, whether it's back story or what they're doing when they're not in the background. For example, maybe there was some hint that this character grew up in an unusual place, or maybe one time another character makes an offhanded comment that this character grew up as a "military brat." These are excellent places where you can flesh things out. Perhaps you can do a flashback story that shows a snippet of this character's childhood living in a military family, and perhaps you can connect whatever happens with something later established in canon. For example, maybe the character in question is detective, and maybe when they're a child, something happens in their neighborhood filled with military families that ends up being investigated, which plays a role in motivating them to become a detective later in life. This takes something already established in canon and builds it out the way it would be for a main character.

Of course, with fan-fiction, you can never know exactly what was the original intention for these kinds of canon backstory snippets. Every fan writer may have a different idea of what is intended or how that plays out, but that's part of what makes it fun. It's not about trying to figure out exactly what the writers had in mind, but rather speculating about possibilities, choosing one, and making it as canon-friendly as possible.

Happy writing!

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

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[windowsandfeelings]

Day 2 and I am already STRUGGLING with NaNoWriMo

[lisafication]

This post is uh, extremely normal I swear

So hello yes I am absolutely On My Bullshit regarding my new favourite game. 

That’s right, it’s the cannibal incest game, The Coffin of Andy and Leyley. And I’m here to shove five thousand words of pretentious analysis down your throat because, and I do not exaggerate, I think it is one of, if not the best written game I have ever played. And I have played a lot of games, including Baldur’s Gate 3, Final Fantasy XIV and Undertale, to name a few narrative luminaries to come to mind.

That wordcount is not an exaggeration. My brainworms are extremely powerful and now you can share them with me as I walk you through my insane skyscraper of inference-driven analysis.

Or you can click away. I really wouldn’t blame you, it’s quite a lot.

Content Warnings: …Yes?

(To drop the bit for a moment, The Coffin of Andy and Leyley covers extremely disturbing material and challenges you to examine aspects of living in this world that many have taken for granted all their life, it is not a comfortable game, this will cover similar topics and will often echo the game’s unremitting scepticism on basic principles of society and humanity and you should look after yourself first. My Content Warning is framed as a joke, but it’s also quite real in that the game is designed to make you uncomfortable and there’s no shame in that not being for you.)

This was originally posted on and formatted for Sufficient Velocity, and you can probably more easily read and discuss it with me here.

With that said, let’s dig in. I have had to split this into multiple posts because tumblr will only allow so many images. There will be spoilers for all endings.

She’s excited, are you?

It’s All About Ashley

It really is, isn’t it? I mean, for approximately eighty percent of the total game as currently released and the entirety of Episode 1, you’re in control of Ashley, just as she’s in control of her and Andrew’s relationship for 80% of the game, up until the various ending sequences where it begins to slip. The only other characters who really matter at all in and of themselves are Andrew and her mother — and the former is under her thumb, and she eats the latter. It’s all about Ashley. Even her obsession with Andrew is, ultimately, about Ashley.

But who is Ashley? What is Ashley? Why is Ashley, even? Let’s take a look.

Ashley as presented to us in Episode 1 is very straightforward, so let’s list off the traits we’re given — she is malicious, she is fearless, she lacks empathy, she doesn’t have anything resembling a conscience, she demands Andrew belong to her and her alone, she has him at her beck and call.

In Episode 2, we’re ostensibly shown how she has him at her beck and call— she leverages the threat of reporting Nina’s death over him and had him swear to be with her forever. We’re shown that even as a child she was “just, like that” — but as a child, she hadn’t learnt to live with it yet, to laugh at the farce of it all.

Yeah, exactly like that!

And she does this throughout Episode 1 — The Coffin of Andy and Leyley is a remarkably silly game much of the time, finding moments of absurdity and levity against a backdrop blacker than pitch — and most of the time, your internal narration is coming from Ashley and the jokes will not-infrequently come at her own expense.

She will later get negged by her human sacrifice for her poor ritual circle drawing

Her reaction to being told that her soul is as dark and viscous as tar is “You guess you already knew that” — it’s confirmation to her, not new information. Ashley knows who she is. But who taught her this? There’s layers to this, nothing in this game is as simple and straightforward as it appears at first sight, which is why I’ve been obsessing over it for days.

While it’s common in fiction, the truth of the matter is, most ‘bad people’ really do think they’re good people. But Ashley has never once thought of herself as a good person — or perhaps better put as a person worthy of love — as we learn across Episodes 1 & 2, with our flashbacks to Andy and Leyley and the VERY VERY QUIET!!!

I really wish I had space in this essay to talk about this, but I’d like to touch on these being traits usually more easily forgiven in young boys than young girls at some point.

If she removes all other options, only then can she expect him to like her.

This is something that is echoed in the modern day — her seeming self-assurance is easily shaken and she reaches out to the world — usually Andrew — to affirm and validate her, soothing her insecurities, using any tool she deems necessary. Even when her life is on the line when Andrew has her by the throat at the climax of Episode 1, the only ‘compelling reason’ she can give Andrew to not kill her is her ability to soothe his nightmares. When he tells her there are sleeping pills for that…

Most people would have a bit more to argue for their existence.

While she, unlike Andrew, acknowledges having had friends before the quarantine… you know she’s got a point that they didn’t even bother to answer her calls, that was clearly not something the state was interfering with given Andrew’s calls with his mother and his girlfriend, and given her general demeanour it’s not hard to imagine that… they weren’t ever very close. When we see her and Nina talk in the infamous ‘box scene’, it’s clear that Nina doesn’t like her very much, despite Andrew’s assessment of Nina as being one of Ashley’s friends.

We see further support for her general lack of companionship in her dream sequence in the Burial route — Leyley and Leyley Alone. No matter what you do, you can’t place the pink plushy at the family table, the flowers won’t bloom if you give the Julia and Nina plushies her own as a companion instead of Andrew’s — and if you’re bold enough to go for the ‘incest route’, in the ‘Love’ room you see that no one ever looks happy to be with her in the childlike depictions of her history, nor is she happy in turn, save for when she’s with Andrew. In a bit of heavy-handed metaphor, the player then overwrites all of these tense, upset, hard moments with Andrew, having him fill in for everyone else in life — and happy with her.

Once Upon A Lousy Life…

THE END

And that’s why she needs him to affirm her, because no one else ever has and no one else ever will. It’s even included in their comic beats — when the siblings are getting along well, they’ll often play a game where Andrew dramatically overpraises Ashley while she demands more; it’s a comedic bit but I mean — it really does matter to her!

For the record, she opened a door. She gets a little heart in a speech bubble after this exchange.

We have a great example of this dynamic, that of insecurity and affirmation, in Episode 1, after Andrew has killed for her, butchered for her, his girlfriend broke up with her, he’s seemingly thrown his entire life away for her… she’s still insecure over her relationship with him, she’s uncertain of her control and she needs him to reaffirm it for her.

This is her victory, surely?

Andrew affirms her once, with his usual dead-eyed look.

But she's still not so sure.

He actively reaches out to affirm her again with cheer.

Look how happy she is!

While it’s most obvious and clear cut here, it’s hardly the only case. Let’s look back to the aftermath of Andy and Leyley and the VERY VERY QUIET!!! (I’m not using the other name). Leyley is, after similarly extreme acts — he murdered a girl and hid her body for her — convinced Andy doesn’t like her and she needs this leverage to keep him around, to meet her basic needs for survival. Because that’s what this is — she receives no care of affection elsewhere, so she forces it out of the only source she sees available through the means she sees as necessary.

I really hope we see some of their earlier childhood in Episode 3

What exactly made her like this? Was it just neglect, or something more specific…

She needs this to be the case because otherwise she doesn’t believe he’d stay.

This pattern repeats throughout — Ashley’s insecurities are hit on and she reaches out to Andy to affirm that she is not alone, and she will use any and every tool to exploit her ostensible control over him and force him to be what she needs him to be — and as long as she has that, as long as she is everything to him and it’s not possible for him to leave, she’s happy. As long as she thinks he loves her in her very particular, very peculiar view of love, she’s content, come what may. As long as Andy and Leyley are together, they can take on the world.

Let’s talk about that view of love, because there’s always more layers to unpack here I’m only scratching the surface with this essay — Ashley consistently refers to anyone else Andrew may have befriended or spent time with as a whore, a slut, a bitch — highly gendered insults that bring to mind the idea that he’s cheating in some way. But it’s not even about sex — when Andrew mentions that their parents had friends, she accuses them of cheating on each other in the same way!

There’s a lot to unpack about Ashley’s view of femininity and the role the patriarchy plays in their relationship.

Any kind of emotional engagement, any kind of commitment, any kind of life outside of your significant other is, to Ashley, cheating. Because that’s what she needs from Andrew, a seeming complete and total commitment, secure in her place as the only thing in his life, because she cannot understand anyone picking her if they have a choice.

This insecurity she has in her relationship is what drives her to empower the trinket — he can’t leave her as long as she can protect him with prophetic dreams, after all. She needs every kind of leverage she can get because until she succeeds in being everything to him, in devouring him so completely she has him in her thrall mind, body and soul she can’t be sure of herself — hell, her dream sequence in Burial has you placing Andrew’s signature green plushy, ‘the best thing in the world’ in a cage far away from anything else.

Ultimately, it really is all about Ashley — even her seeming obsession with Andrew ultimately comes back to her own insecurities. If she is everything to ‘the best thing in the world’, some of that ‘best’ must surely reflect on her! 

But that’s enough about the more normal, straightforward and understandable sibling. 

That was not a joke.

Andrew’s Rank 100 Deception

The greatest trick the Devil ever pulled was convincing the world that he did not exist.

Let me explain.

You might have noticed that in the previous section I often use language such as ‘ostensibly’ or ‘seemingly’ to describe Andy and Leyley’s relationship, and there’s a good reason for that. From the beginning of the game through to its end, Andrew is lying to you, the player, without ever falsely representing or misinforming you about events that occurred.

The common, or obvious ‘initial take’ on Andrew as presented in Episode 1 is fairly straightforward. The game primes you to think this way, it frames things and strings reveals just right so as to make it very easy to overlook the incongruities it introduces in Episode 2. He’s a victim. Plain and simple, Ashley is his abuser and he is her victim and would be fine, a normal albeit kinda depressed guy without her.

It really is not a difficult conclusion to draw

You can go all the way through the game, have him try to accept his mother’s olive branch and enter the Decay route as a method for him to finally actualise his desire to get out from Ashley’s thumb and it makes sense, it’s a reasonable way for the story to go, given his character.

You see him this way because the game primes you in Episode 1 to view their relationship like Andrew does — he’s lying. He’s lying to himself, he’s lying to Ashley and he’s so good at it — Deception Rank 100 — he even lies to you. Without misrepresenting a single event or otherwise misleading you directly, the game gets you to buy into his preferred self-perception. Nina? Ashley. Julia? Ashley. The murders they commit in the course of the game? Ashley, Ashley, Ashley, it’s not his fault he’s not to blame he’s just a doormat at the beck and call of his demonic sister.

But he wants to be there. From the very outset, the very first puzzle, that’s made clear. Does anyone else remember this exchange, from right at the beginning of the game?

Ashley wants to investigate the music!

Andrew disapproves…

…Or does he?! 

Like. Listen. Okay. You do not frown when saying ‘Nope’ and then smile when saying that you’ll instead tag along if they do it if your heart is at all in the no. That’s not an objection, that’s using Ashley as his excuse. Especially if you immediately throw her the balcony key that she could not possibly have gotten from you by force (more on Andrew’s ability to use force later).

This is the very first time you control both characters together with Andrew following Ashley instead of off on his own, the first adventure, the first puzzle! 

But put a pin in that for now, let’s talk about his initial framing in Episode 2 first. Episode 1 has set us up to, generally speaking, believe the superficial framing of the siblings as portrayed in its promotional art:

The question that we then ask, right at the heart of it is… why is he a doormat? We explore this in his dream sequence in Episode 2, which does make it clear that the boy’s not okay but— it’s real easy, given the priming from Episode 1 to make you think that he’s the one with the originally functional moral compass, to think that that him being fucked up is damage done to him by Nina’s death and being bound to Ashley for his entire life. She corrupted him.

But, well, is that the case?

You're primed to ignore this as manipulation (which it is) but the best manipulation has some truth to it.

Precisely two things spur Andrew to action in the entire game, consistently — they are the fear of consequences and Ashley. And the first incident of that fear, the very first time we’re shown his seeming moral compass as a kid — the first time it’s really hammered home that it’s a fear of consequences rather than any true moral qualms is after Nina’s death. And why does he fear consequences here?

……

The ‘natural’ read that many take away from this sequence, particularly those who have only played Decay, is that Ashley browbeat him into doing this against his will, using emotional blackmail to overwhelm his objections, and then used the event itself to bind him to her forever as her personal doormat.

In a strict sense, this is true. But this doesn’t match up with the details, something the game uses shock to encourage you to overlook. That outburst is before any kind of threat has been made, and absolutely nothing either of them say anything about it being morally bad until Ashley weaponises ‘you’re a bad person’ against Andrew — morality didn’t seem to enter his mind or the equation at all until Ashley brought it up. More than that, his greatest fear and driving motivation even prior to that is, as shown above, being taken away from Ashley.

She, of course, recognises this and uses it against him. But she never needed to, it didn’t change anything about Andrew’s attachment to her, it was there to address her own insecurities.

Just like to touch on how a lot of his affirmations are preceded by him confirming her insecurities.

I adore this phrasing

There’s a second prong to this as well, to the question of ‘who really calls the shots here’ because — Andrew can, at any stage, apply an ‘ultimate veto’ of physical violence. The game is very clear to the player that that is on the table — even when they were children, when Andy swears their blood oath, he briefly considers killing her — and take note of how he ultimately got a ‘winning’ condition out of her by not specifying there wouldn’t be others and she is forced to accept that, there. Even outside of their most serious confrontations, Ashley is portrayed as having to convince, manipulate or otherwise coerce Andrew into going along with her schemes — she really can’t make him do anything, she doesn’t have the supremacy in violence and, to a lesser extent, capability that would allow her to. 

Andrew, you are like ten years old.

The truth of the matter is, Ashley can only make Andrew do anything because he lets her. I don’t mean in the sense that I’m saying abuse victims let their abusers emotionally abuse them, I mean in the sense that he is clearly considering his options on the table and choosing to discard those that could stop her, or bring an end to any of this. He needs her.

But it’s true that he hates her, too. He has to hate her, because if he doesn’t hate her, if he isn’t forced to have done this, that means… he’s responsible. And nothing, at the start of the story, is as important to Andrew as avoiding the consequences of his own actions, not even Ashley. By the midpoint, he loves her, he hates her, he can’t live without her, he wants to kill her — by the end… well, that depends if you’re on Decay or Burial, but more on that in a bit.

A great scene to study for this dynamic is the climax of Episode 1, when Andrew grabs Ashley by the throat and considers strangling her to death. She’s pushed him too far with hurtful words and assault, and he’s seemingly had enough.

It’s still framed as a question of risk, of consequences happening to him. 

Like, this is not the usual behaviour of someone who’s been pushed past their breaking point.

He tells Ashley that he wants to kill her, because she’s just going to throw another fit and that’s a risk to him. She is… not framed as being able to fight back (she does have a gun here, and more on that in a later essay, maybe). He’s so calculated in how he approaches his use of violence here, which isn’t at all what you’d expect of someone about to commit a crime of passion… but it’s very easy to overlook because of the abuser/victim narrative that the player fits his behaviour into the narrative that the game primes them to accept, brushing incongruities under the carpet.

At the start of Episode 2, we get to control Andrew for the first time, and the first obvious holes in his cover start to show. Some of this is optional — you only learn that he’s been faking having nightmares in order to share a bed with Ashley if you choose to go back into the motel room and check the bed, for example — but not all of it.

----(See reblogs for the second half)

[sizzleissues]

Its May.

Okay so this is in the same AU I had last year its just changed and evolved while also being the exact same. Except now I have 15,000 words of it written, like 7,000 words of planning and lore and hours upon hours of research that I will be pointedly ignoring. Will be posting more stuff this month about the AU and my hopes and dreams for it

Also slight art improvement check? I’ll put their original mermaid designs below the cut.

It’s Marinette as a mermaid and … its not Adrien or Chat Noir but a third worse thing (Catwalker but in the purest manifestation of it being a curse and not who he wants to be) I will be making designs for mer!Ladybug, and mer!Adrien as its own thing later on.

Okay if you want to indulge me look below the cut

Old mermaid designs first. I am going to be talking about my design thoughts, thoughts and ramblings about this AU and what I’ve been up to. You have been warned

As you can see, some things have changed but neither design I hated, I just wanted to go further with it.

My brain is quite specific about mermaids and how I want them to generally look. I wanted to distinguish biological merfolk from transformed humans by having them being anatomically different. So Adrien has a vertical tail instead which is also way faster underwater. His transformation is quite distressing for him and very chaotic. Of course when he accepts it he’s not so raggedy.

Marinette similarly avoids her life as a mermaid by becoming human and I wanted her mermaid design to hint toward her fascination with humans. She wears a top she fashioned from human fabric she found in a sunken merchant vessel. In general all other merfolk either forgo clothes or wear things fashioned from materials available to them. There’s deep fear of humans and human things so even though human clothes are available to them (off dead bodies but…. Whatever) they choose to difference themselves as much as possible. The same taboos don’t exist for them and their bodies are already adapted from the temperature of their environment. Adrien has stray bits of netting and seaweed on him because he’s not exactly the best at controlling his speed and often crash’s through fishing nets and patches of seaweed resulting in stuff being caught on him.

A lot of their designs are still being worked but I’ve definitely pushed them the right direction!

On to the AU. You might have seem me cryptically talk about something I’m writing the past few weeks. This is because it’s been in my brain since last May and been on and off writing it since then. I decided I’d talk about it once May came back around but and then when I finished writing it, start posting sneak peaks and more spoilery art until it was fully edited and I felt confident in it to post with an aim for it to finish posting once May rolled around again. Oh god.

It’s set in the late 1700s in a fictional version of France that’s actually fragmented over a bunch of islands. I have done more fashion research than I ever thought I’d do and in the end we will still be taking creative license but know I do know what they actually wore! I ALSO did a butt tonne of research about sailing ships and turns out they are super complicated and now I know too much and yet too little still about them. It should be super fun and action packed if I can manage. Have some really good scenes already in my head I know you’ll love. We’re already three ships battle deep and I’ve only written four chapters. (It chills out for a bit after that)

This is entirely self-indulgent by the way. I’m writing this for me, you guys are just a bonus. I literally don’t care as long as it satiates my rabid need for the fic that only lives in my brain at the moment. Saying that, I do want to put my best foot forward.

The next thing I will be posting for this is their human forms and more blabblerings about that. For I am insane and all.

[writing-zelda-brainrots]

The Apothecary’s Travel Guide Chapter 1

Quickly, before we begin, I want to set some things straight about this little fic series.

This fic will use Fem!Reader in both pronouns and body descriptions. I usually stick to gender neutral stuff, but this fic just works better with a female main character in mind (or at least I think so).

While I won’t be going into actual nsfw stuff (maybe in the future, I haven’t decided), this fic will still contain sexual themes and scenarios. This fic is meant for older teens and up. I don’t write with a young audience in mind, both for this fic and in general.

For those of you who are not familiar with The Apothecary Diaries (wtf are you doing here, go watch it), the series takes place in a fictional version of Imperial China. You don’t absolutely need to watch it to read this fic, but you will have a better understanding of things if you have (also, it’s just a really good show, very well written with one of the best female protags I’ve ever seen).

Also, this fic starts before Sunset, so the whole “Twilight is Wolfie” and “Hyrule can heal” things are not known yet.

–

It felt a little strange to be back in the busy streets of the pleasure district after spending months in the rear palace. But it was the good kind of strange. The smell of grilled meat skewers that you missed so much, the paper lanterns hanging overhead, people haggling for better prices in the street side shops, playing games on the side of the road, or drinking tea in teahouses. And of course, beautiful women calling men over to offer ‘special services’ in the many brothels.

It’s a sight you’re all too familiar with. Having grown up here, raised by the women of the famous Verdigris House, these things did not phase you. One would think that working in the palace would be quite the change of pace, but if there’s one thing that you’ve learned over the past however many months, it is that the palace and brothels aren’t all that different. A beautiful caged garden full of flowers for the emperor to enjoy looking upon.

In truth, if you had the choice, you would not want to have anything to do with the imperial palace, but given your situation, what could you do? You certainly didn’t ask to be kidnapped and sold off to the palace back then and you didn’t ask to be promoted to lady in waiting to one of the four highest ranking concubines. You were doing just fine as an apothecary back in the pleasure district, thank you very much.

You had originally attempted to stay low, worked as a simple, low ranking servant until your contract expired and then head home. You hid any signs of value that could get you promoted; you hid your ability to read and write, as well as hid your ‘true beauty’ so you wouldn’t become a concubine (even if a servant could only ever become a low ranking concubine). Any extra money you would have earned  from those promotions would just be swiped by your kidnappers, anyway. At least you still got paid for your regular work.

Had things originally gone according to your plan, you would have worked hard and been released within three years. However, now that goal post has been moved quite a bit.

But you shouldn't be thinking about work right now; it was your day off, after all. You were back home (after managing to haggle your way into them letting you leave the palace) and that’s all that matters right now.

I should get some radishes and chicken for soup tonight. You thought as you walked down the street of the makeshift market. You hoped that your father had been eating well. He was never all that good at feeding himself. If he was starving for a few days, the old lady from the Verdigris House would force something down his throat.

Speaking of the Verdigris House, you should probably head there later. Both to say hello to your ‘big sisters,’ but also so you could take a bath there. They’d likely want some medicine, too, now that you thought about it. The last time you delivered medicine there was the day you got kidnapped.

Heh. Even on my day off I’m running errands.

With your little morning shopping excursion done, you stuffed the ingredients into the basket you carried on your back and started heading to that familiar little shack you affectionately called home. Dad should be in the fields tending to the plants right now. Honestly, he was getting too old for that trek, especially with his busted knee, but you couldn’t deny that he loved that little garden he’s cultivated over the years. Not like you were any different when it comes to your passion for medicinal herbs. As your master, he taught you everything you know about medicine; what herbs work in which situations, what to use and what to avoid, how to make medicine, what plants, mushrooms and animals were poisonous and which weren’t, etc. He was a very learned man, having studied both eastern and western medicine. With a few more years of teaching, you might be as good as him, or you hoped so, at least.

Finally you reached the calm little neighbourhood you grew up in. It was on the very outskirts of the city, not even protected by the tall stone brick walls. Looking at the small sizes of the houses, barely larger than your average shack, told people that this was where the poor lived. It wasn’t much, but it was home. Truth be told, your father was an excellent medical expert, even having worked in the palace before from what you’ve heard, but for all his skill and knowledge, he had terrible luck, which is why he ended up living here instead of somewhere more fitting for his stature.

But when you got to your little childhood home, you were met with a worrying sight. A woman you didn’t recognise, worry and uncertainty written on her face, knocking on the front door of your home. That’s strange, did she need medicine? You didn’t recognise her servant uniform, but she seemed to be from one of the inns in the area.

You called out, catching her attention immediately. “Are you looking for the apothecary? He’s currently out, but I can leave him a message.”

“Please help, it’s a medical emergency! Someone’s been poisoned!”

Your face immediately turned serious as you dropped your belongings before running inside the shack to retrieve an emergency med kit. “Lead me to them.”

--

People had gathered around the doorway of the inn, clearly all in a panic, but not sure on what to do.

“I brought the apothecary. Please step out of the way.” The two of you moved past the seemingly small army of staff and patrons.

What you saw seemed to match what the woman had told you before. A man lying on the bed, restless, breathing erratically, hands clenching at the fabric of his clothes right over his heart. Immediately you entered your ‘work mode,’ practically diving next to the man. First, a physical check up.

You pried open the man’s eyes, looking into them; you checked his pulse and stuck a finger into his mouth. Judging from the spittle running down his chin and trace amounts of sick on the bed sheets and his blue scarf, it’s safe to say that he had vomited. Still, you pressed down on his solar plexus to induce more of it. It would help expel whatever caused this reaction, but it would also dehydrate him. There was a hrrk, and spit came pouring out of his mouth, which you wiped away with the bedsheets you had gripped.

Suddenly, a new man with brown hair and eyes came running through the door with what seemed to be a waterskin in his hands.

He was just about to offer the water to the man you were tending to, but you shouted at him: “Don’t let him drink that! Charcoal- we need charcoal!” The startled man dropped the item onto the floor, but recovered just as quickly, running off once again to retrieve the required item.

You repeated this process several times on the victim; making him vomit, wiping the bile away ad nauseum until nothing but stomach acid came out. The man was able to breathe much easier now, no longer hyperventilating. Thankfully, at your request, the charcoal had arrived just in time, which you quickly ground up with your mortar and pestle.

“This’ll be rough on his throat, but it’ll flush the toxins out of his body.” You spoke as you poured the fine powder into his mouth. Some of the men, who you assumed to be the patient’s associates, had gathered around the two of you, clearly worried.

“Wa… Water. Please…” Those were the first words you heard him speak, weak, but nonetheless a sign that he was recovering.

“Not yet. I’m sorry, but you’ll have to endure this a little bit longer.”

Though unhappy, he accepted and resigned himself to his scratchy and dry throat for the time being. Finally you were able to remove yourself from the bedside, letting the other men move the patient while the inn’s servant ladies removed the soiled linens.

First damn thing in the morning and I already have to deal with an emergency. I only just got back. You grumbled in your mind as you looked at your filthy hand. Ugh. I really need a bath. You sighed both from relief and exhaustion.

“You doin’ okay, Captain?” One of the taller men with brown hair asked while holding him up so he could stand.

The patient - now identified as ‘Captain’ - took a breath. “Much better.” He then turned his attention towards you. “Thank you. I was certain that I was a goner.”

“I am simply doing my job. There is no need to thank me.” Utilising some water in a pitcher that one of the servants offered, you wiped your hands with a damp cloth.

You then took out a wooden slip, wrote just a couple characters on it and handed it over to the servant woman who you first encountered. “Deliver this to doctor Luomen and bring him here. He should be by the south wall.”

With that, the servant gave you and everyone else in the room a small bow before leaving.

The man with a blue hat turned his attention to the patient, who had once again been laid down onto the cleaned up bed. “Now I know that stuff took you out; you didn’t even try to flirt with your “guardian angel”.”

“So that’s your impression of me?” The sarcasm in his voice was evident. “Glad to know that it took me almost kicking the bucket to change your opinion.”

--

Within about half an hour, the servant had returned, your father in tow. It took longer than you had hoped, but given your father’s age and condition, it wasn’t all that surprising.

He took a good look at the patient and asked some questions.

“I suppose you did an adequate job here.” He gave you his trademark gentle smile after he was done with his examination.

“‘Adequate’?” You ask, annoyed.

A man who you assumed to be the owner of the inn came into the room. “Thank you, doctor Luomen. You are the best medical expert one could ask for.”

“Don’t thank me. My daughter did all the hard work.”

“Tell me, how much do we owe you? Name your price.”

“There’s really no need-”

You nudge your father’s side with your elbow. “Can you pay rent this month?”

“Ah… Well, in that case, I’ll take the usual fee.”

This was one of his habits; undercharging for his work, or even failing to charge at all, much to your distress. You understood the desire not to take money from people who were already struggling to get by, but this was not the case.

A tall blond man in heavy armour came up to you, holding out a small-ish sack. “Please, allow us to reimburse you as well. We owe you a lot.” Seeing no reason not to, you accepted the item.

With that, your father and the inn’s owner head into another room to discuss payment, leaving you to gather up your tools.

From the corner of your eyes, you noticed a few of the men fidgeting nervously or giving each other glances. They obviously wanted to say something. You didn’t know why they were hesitating. Sure, you might have sharp, mean-looking eyes and you didn’t smile all the time, but there’s no reason for these numerous grown men to act like this around you.

“Can I help you?” You broke the ice. No point in delaying this.

The one who you assumed to be the leader cleared his throat. “Actually, we’d like you to answer some questions we have. We’re travellers from afar, you see, and we don’t know much about this place or nation.”

They came all this way here and they don’t know the first thing about where they are? “You’re in the country of Li, specifically in the capital city of both the nation and the Central Province. I’m not going to judge how you choose to spend your time, but if you wanted to go sightseeing, I wouldn’t exactly recommend coming to the pleasure district first.” You raised an eyebrow. Just who were these people?

You saw that a few of the mens’ faces had turned bright red when they realised where they were. “Ha! Told you that this is where we ended up.”

“Are you implying that you frequent these kinds of places, Captain?” It sure seemed like these two had a penchant for arguing. Even during the time while you were waiting for your father to arrive, you noticed that they kept butting heads.

“Enough, you two.” The oldest shot them a quick glare. “Either way, it’s good we left Wind with Four back at the city outskirts. Both because of the inappropriate nature of this place- no offence…”

You shrugged. “None taken.”

“... But so that they wouldn’t have to see you get in trouble like this.”

“You are the apothecary here, right? If so, then you should be familiar with people who have gotten injuries.” You nodded. “Have you heard anything about encounters with any strong monsters, particularly those with black blood?”

Alright, now you were really confused. Monsters? Black blood? Was this some kind of way of informing you of a new disease spreading among the troops of enemy nations? But if so, why not tell this to an army physician instead of a random apothecary?

“Can’t say that I have.” You spoke up after having given it some thought. “Though I have to admit that I have been working in the inner court for the past few months, so I’m not caught up on the goings on outside the palace walls. But if you are telling the truth, I’m certain I would have heard rumours.” Thinking back, Xiaolan - a girl you had grown a friendship with when you were a simple servant at the palace - sure loved her gossip, and if there was one thing she loved more, it was sharing that gossip with you over tasty snacks and food.

“Thank you anyways.”

While this conversation didn’t seem like it yielded much, it did get your gears turning. It was time to do some espionage- or rather, some investigating. Something you’ve gotten pretty good at lately, if you said so yourself.

“Please wait here while I get you some medicine.” With a quick bow you left the room. In truth you had already prepared the medicine while waiting for your father to arrive, but this was still a convenient excuse.

As quietly as you could you hid yourself behind the sliding door and pressed your ear against it. Sure enough, once the men in the room believed you to be gone, they started talking. Words like “monsters,” “eras,” “shadow” and others got thrown around as if it was common knowledge, yet it only served to confuse - and intrigue - you further. One thing was certain; these were not your regular, run-of-the-mill travellers.

Your earlier talk also gave you an opportunity to scrutinise their appearances. Given their unfamiliar clothes and armour, plus features like light coloured hair and eyes, and their utter lack of knowledge of where they even were, you assumed them to be from a distant land, the west, most likely. But that was before you noticed one curious detail that they all shared; pointed ears.

This one thing had you calling things into question. Sure, the world was a large place, but in all your years of studying medicine and the human body, you’ve never heard of any group of peoples with such a distinctive feature.

But now came the question of what to do. What were you going to do about this suspicious group? Should you report them in case they were here to cause trouble? To be honest, you didn’t want to get involved. No point in sticking your neck out for these strangers and possibly risk getting accused of treason. You’ve done your job, you healed them, and you’re about to give them their medicine and leave. There’s no need to let them occupy your mind anymore. You’d steer clear of them from now on. Yeah, that sounded good.

Finally, you pretended to have returned from your ‘excursion’ and knocked on the door. Given the sudden silence from the room, it was safe to assure that whatever they were talking about was not for others to hear.

Walking up to the Captain still in bed, you handed over a small paper bag. “Please take this for the next few days. It’ll ease your stomach and help with getting rid of any lingering toxins. I would recommend drinking it as tea.”

The one who you had identified as ‘Legend’ from when you were listening in groaned. “Ugh. This whole thing’s been a wash. You guys ready to head back to camp?”

A unanimous ‘yes’ was heard.

--

Ironically enough, you could not get those men out of your head. Was your intuition trying to tell you that there was something wrong with them? Or were you simply curious? They were certainly the most interesting people you’ve met in some time.

They had already left the inn and you had headed in a different direction. You did finally manage to get that warm bath you were looking forward to. And getting to speak to your ‘big sisters’ at the Verdigris House was nice. But still your mind was occupied with something else. Damn it, this was supposed to be your day off, but you haven’t been able to relax completely!

You kicked a small rock in front of you in frustration. Hopefully having dinner with your dad would help alleviate your problem.

Suddenly you felt an all too familiar feeling of being pulled backwards.

Well, this wouldn’t be your first kidnapping.

--

And Wars will have to suffer through that dry, ashy throat for the remainder of this fic- lol jk.

A.N Fun fact: did you know that other than Twilight (who has lived among humans for a long time), technically, Legend is the one who has interacted with humans the most? The people of Koholint Island had short, round ears, as did the people of Holodrum (Oracle of Seasons), Labrynna (Oracle of Ages) and Hytopia (Tri Force Heroes).

[staridust]

★ DO NOT USE/REPOST WITHOUT MY PERMISSION. NO MINORS.

Jack in my Pouring Rain AU vs Jack in my Sunnyverse AU

Gonna ramble a bit here about the two portrayals, there’s a lot more typing space here so I will also be using my posts as a bit of infodump sometimes! ↓

For starters, I really adore Jack as a design and character, there’s not much I wanted to alter about him in the design department, so all changes are subtle!

✦ Starting with Pouring Rain!Jack!

This guy’s probably the closest to how he’s presented in game honestly— still manipulative, still colorful, probably a bit more deranged because his sunshine keeps forgetting shit.

Art wise, I wanted to really keep the colors on him vibrant, but also give him sort of a dim vibe as well. His hair is a bit more reflective of turquoise highlights with a gradient of a muted darker blue at the tips.

I like to imagine Jack uses colorful knives (if he most certainly has to use one). I have colorful knives in my house, it just seemed right as I was doing the dishes one day. He also changed his paints ever so slightly, because stars are very important to him.

He’s also rather glitchy when upset, but not that of a computer glitch when it happens.. more of like… something that’s being rewinded and re-written over numerous times, no?

Or, maybe I have no idea what I’m talking about!

And finally, the colorful paint on him!

Rain!Jack’s original sunshine way back nowhere was actually a graffiti artist, so does Jack know how to paint? It’s not like he would say, but it is a bit easier to play off a mysterious red stain if you’re covered in all the other colors.

——

✦ Ending with Sunnyverse!Jack!

Sunnyverse, is quite frankly a bit of a community like idea. The premise being quite similar to the same notion of Spiderverse, where multiple of the characters can exist and vibe but may look different, while still following a canon of sorts. It’s basically like showing off your characters and AUs in your style!

(Honestly, with a name like that, maybe I should draw Spider-Jack… *Sunrise Spider?*)

This Jack is a divergent of the idea where the fictional world of CloudyTown is real. ← This information also is a slight spin-off of an unofficial AU called “Sunny Time Town” by artist Sauce! I will also be using “Sunnyverse” for the official name of my AU that includes my ocs that switch up the story in a non-yandere manner!

SV!Jack here rocks a bowtie and suspenders with the design paying a full tribute to a sketch I did in March! I’ve seen a few comments relating it to his teaching profession… and now I can’t I see it, haha!

To contrast Rain!Jack, SV!Jack’s hair is a nice pure blue gradient that dips into indigo/purple at the tips!

I added his belt as a tie in both of them (don’t ask why the belt is doing a :3), but now I hear the belt is sentient… that’s a cool idea I seen around, I gotta learn about that!

That’s about all the information I had on this piece though, til next time!

[davycoquette]

INTRODUCTION

Howdy! Call me Davy!

You can find my writing on this page of my blog!

This is my first foray into Tumblr’s writing community, so bear with me. If you see me committing any manner of egregious faux pas, please let me know so I can learn!

At this time, I don’t belong to any fandoms. Everything I write is fandomless, and every character I write about is original. While I am more than happy to interact with fandom writers, I’ll mostly seek out other original indie writers & their content.

A little bit about me:

She/her, born in ‘89

I’ve been writing since I could scribble

…but I have never submitted anything to be published!

At present, I just write. I am not working on a novel or toward publishing anything. Yet.

I want to follow:

Anyone whose writing I enjoy

Anyone who likes to discuss the craft of writing candidly

Writer’s writers

Folks who are willing to engage and have fun

I will not follow:

Blogs that post nsfw content (with the possible exception of spicy written scenes) simply because I like to scroll my dash in public places! It’s nothing personal!

Blogs that post excessive content unrelated to writing/things that interest me. Personal diaries etc. are totally fine!

Blogs that don’t tag content I need to filter, or that circumvent filters by spelling them creatively.

Anyone who hits on me in DMs, is incendiary, etc.

Mutuals, beware:

I am very likely to jump into your askboxes and reply to your posts. Feel free to ask me to stop if it bothers you. I don’t know how to act on this website.

Genres I Write:

Western, western, western. Historical, modern, fantastical, surreal — you name it.

Literary fiction

Science fiction

Nonfiction

Expect:

I write stories about fucked up fuck ups fucking up. My characters are heavily flawed individuals, and heavy, gritty subject matter can (and will) come up. I will do my best to throw in content warnings accordingly, but please let me know if there's something you need me to tag!

[corvid-ae]

So you want to listen to Main Range?

Great! I know how intimidating it can be to try and start listening, so I’ve tried to compile a guide to the main story arcs. More under the cut (minor spoiler warning)!

Also known as the Monthly Adventures, it’s a great way to get into the DWEU and definitely one I would recommend. It is also accessible, with the first 50 stories available on Spotify, or available to buy from Big Finish or second-hand fairly easily (or, you know, via less-legitimate means).

Main Range involves stories from the Fifth, Sixth, Seventh and Eighth Doctors, and various TV and original companions. If you are a fan of eighties and nineties Who, then Main Range might be for you! My general recommendations for people are to pick a specific doctor AND companion(s) to listen to and go from there. Although, if you’re looking for a first story to try, why not start at the very beginning (a very good place to start) with the Sirens of Time.

While many Main Range stories are stand-alone, there are also some overarching plots, which are actually very companion-focussed. Trying to understand these arcs and listen to them in order can be intimidating for people looking to get into listening, however its probably simpler than you’d think.

To help you out with all of this, I have done my best to write down the stories that are probably best listened to in order, with a bit of an explanation about how it fits into TV continuity if relevant. The order is pretty easy to follow as it is pretty much just in release order. No, Big Finish did not intentionally try to confuse their audience by releasing stories out of order (okay maybe they did just a little). However I have provided the story number in brackets [like so] for clarity.

Also, to be clear, all of the arcs are self-contained, so seperate arcs don't have to be listened to in the order I've written them down in, unless I've specified otherwise (like with the Evelyn and Hex storyline).

Again, it is not super important to listen to things in order. If you are getting bored with a story or with listening in order then feel free to skip things. Maybe you could just skim the Tardis Wiki page for the plot if you like. To help, I’ve also marked any of the super plot-heavy stories with an asterix. Most other stories, especially ones that I don’t mention here are standalone and can be listened to however you like.

Also feel free to let me know if I miss anything! Happy listening :)

Fifth Doctor:

The Erimem Arc

This takes place after Planet of Fire and before Caves of Androzani, and features the Fifth Doctor, Peri and an original character called Erimem - an ancient Egyptian princess. This is a pretty good arc and one I would definitely recommend. Please feel free to skip Nekromanteia though it’s genuinely terrible.

[24] The Eye of the Scorpion*

[38] The Church and the Crown

[41] Nekromanteia

[56] The Axis of Insanity

[59] The Roof of The World

[69] Three’s a Crowd

[71] The Council of Nicaea

[81] The Kingmaker

[99] Son of the Dragon

[102a] The Mind’s Eye

[104] The Bride of Peladon*

The Key 2 Time

A trilogy featuring the Fifth Doctor and an original companion called Amy which acts as a sequel to the Key to Time. It is set between Planet of Fire and Caves of Androzani. The Fifth Doctor meets Amy again in the boxset Wicked Sisters.

[117] The Judgement of Isskar

[118] The Destroyer of Delights

[119] The Chaos Pool

The Stockbridge trilogy

Featuring The Doctor and Nyssa and set in the fictional town of Stockbridge which was first introduced in the Fifth Doctor’s DWM comics. Knowledge of that is not at all essential however. Set between Time Flight and Arc of Infinity.

[127] Castle of Fear

[128] The Eternal Summer

[129] Plague of the Daleks

The Older Nyssa Arc

This is set between Enlightenment and the King’s Demons and features Tegan, Turlough and an older Nyssa - some years after the events of Terminus.

[136] Cobwebs*

[137] The Whispering Forest

[138] The Cradle of the Snake

[146] Heroes of Sontar

[147] Kiss of Death

[148] Rat Trap

[159] The Emerald Tiger

[160] The Jupiter Conjunction

[161] The Butcher of Brisbane

[172] Eldrad Must Die!

[173] The Lady of Mercia

[174] Prisoners of Fate

[195] Mistfall

[196] Equilibrium

[197] The Entropy Plague*

The Hannah Arc

A very short trilogy featuring the Doctor, Nyssa and another original companion - Hannah - an Edwardian woman. Set sometime between Time Flight and Arc of Infinity.

[185] Moonflesh

[186] Tomb Ship

[187] Masquerade

The Season 19 Gang Arc

Set during the events of Season 19, these stories feature the original gang of the Doctor, Adric, Tegan and Nyssa.

[221] The Star Men

[222] The Contingency Club

[223] Zaltys

[234] Kingdom of Lies

[235] Ghost Walk

[236] Serpent in the Silver Mask

The Kamelion Arc

There’s not much to say about this apart from that these three are probably best listened to in this order? Set between the King's Demons and the Five Doctors (i think) and featuring Tegan, Turlough and Kamelion.

[247] Devil in the Mist

[248] Black Thursday/Power Game

[249] The Kamelion Empire

The Marc Arc

These stories follow the Doctor, Tegan, Nyssa, and an original companion Marc - a man from ancient Greece. It is set sometime between the end of Arc of Infinity and Mawdryn Undead.

[256] Tartarus*

[257] Interstitial/Feast of Fear

[258] Warzone/Conversion*

[266]Ghost Station/The Bridge Master/What Lurks Down Under/The Dancing Plague

[267]Thin Time/Madquake*

Sixth Doctor:

The Evelyn Arc

One of my favourite arcs with some great stories, and maybe where things get a little confusing. This arc features the Sixth Doctor and an original companion, Evelyn - an historian from modern-day England. Set sometime before the Sixth Doctor meets Mel I think.

This arc set up some story aspects which are explored further with the Seventh Doctor’s stories - specifically, the Forge trilogy. There are a few ways you could listen to these but to keep it simple I would also recommend listening to the Seventh Doctor story the Harvest before you listen to Thicker Than Water, and then A Death in the Family once you’ve listened to all the Evelyn stories AND the Forty-Five anthology. This could also be listened to concurrently in release order with the Hex storyline which I’ll outline a bit later.

[6] The Marian Conspiracy*

[9] The Spectre of Lanyan Moor

[11] The Apocalypse Element

[22] Bloodtide

[23] Project: Twilight*

[37] The Sandman

[40] Jubilee

[43] Doctor Who and the Pirates

[45] Project: Lazarus*

[57] Arrangements for War*

[58] The Harvest (7th Doctor)*

[60] Medicinal Purposes

[73] Thicker Than Water*

[100] 100 BC/My Own Private Wolfgang/Bedtime Story/The 100 Days of the Doctor*

[143] The Crimes of Thomas Brewster

[144] The Feast of Axos

[145] Industrial Evolution

[115] Forty-Five anthology (7th Doctor)*

[140] A Death in the Family (7th Doctor)*

You can theoretically listen to the following before or after Thicker Than Water if you want - they are sort of standalone stories with the Doctor and Evelyn:

[78] Pier Pressure

[84] The Nowhere Place

[108] Assassin in the Limelight

The Charley Arc 2.0

This is best listened to once you’ve listened to the Charley Arc with the Eighth Doctor. Featuring the Sixth Doctor and Charley.

[105] The Condemned*

[111] The Doomwood Curse

[114] Brotherhood of the Daleks

[116] The Raincloud Man

[124] Patient Zero

[125] Paper Cuts

[126] Blue Forgotten Planet*

The Flip and Constance Arc

Featuring the Sixth Doctor and two original companions, Flip - a girl from modern-day England - and Constance - a woman from World War II. Set sometime before the Doctor meets Mel.

[143] The Crimes of Thomas Brewster*

[156] The Curse of Davros

[157] The Fourth Wall

[158] Wirrn Isle

[182] Antidote to Oblivion

[183] The Brood of Erys

[225] Vortex Ice/Cortex Fire

[184] Scavenger*

[204] Criss-Cross*

[205] Planet of the Rani

[206] Shield of the Jotunn

[218] Order of the Daleks

[219] Absolute Power

[273] Colony of Fear

[220] Quicksilver*

[231] The Behemoth

[232] The Middle

[233] Static

[263] Cry of the Vultriss

[264] Scorched Earth

[265] The Lovecraft Invasion

The Older Peri trilogy

Featuring the Doctor and Peri from after she marries King Yrcanos.

[192] The Widow’s Assassin*

[193] Masters of Earth

[194] The Rani Elite

Seventh Doctor:

The Hex Arc

A great arc that sort of starts with Evelyn’s arc. I would not recommend starting this until after you’ve listened to Project: Lazarus, but maybe at least listen to The Harvest before Thicker Than Water (no stress if you don’t want to juggle listening to arcs concurrently). Features the Seventh Doctor, Ace, and an original companion from 2020s London - Hex. Set after the end of Classic Who.

[58] The Harvest*

[67] Dreamtime

[74] LIVE 34

[79] Night Thoughts

[82] The Settling

[89] No Man’s Land

[92] Nocturne

[106] The Dark Husband

[115] False Gods/Order of Simplicity/Casualties of War/The Word Lord*

[120] The Magic Mousetrap

[121] Enemy of the Daleks

[122] The Angel of Scutari*

[139] Project: Destiny*

[140] A Death in the Family*

[141] Lurkers at Sunlight’s Edge

[149] Robophobia (side note: this is our introduction to Liv Chenka who is one of the Eighth Doctor’s main companions from Dark Eyes onwards).

[151] The Doomsday Quatrain

[152] House of Blue Fire*

[162] Protect and Survive*

[163] Black and White*

[164] Gods and Monsters*

[181] Afterlife*

[189] Revenge of the Swarm

[190] Mask of Tragedy

[191] Signs and Wonders

Also at some point before or after the Angel of Scutari you can listen to the following as they are standalone stories:

[226] Shadow Planet/World Apart

[245] Muse of Fire

[268] The Flying Dutchman/Displaced

The Klein Arc

An Arc featuring The Seventh Doctor and an original character, Klein - a woman from 1940s Germany. Set after the end of Classic Who.

[25] Colditz*

[130] A Thousand Tiny Wings

[131] Klein’s Story/Survival of the Fittest

[132] The Architects of History

[175] Persuasion

[176] Starlight Robbery

[177] Daleks Among Us

Klein is also involved in the final story of the Daniel trilogy which spans the Fifth, Sixth and Seventh Doctors.

Eighth Doctor:

The Charley Arc 1.0

The best Main Range arc in my opinion. If you listen to anything, listen to this. Featuring the Eighth Doctor and original companion Charley, with another original companion C’rizz in Part 2 of the arc.

Part 1:

[16] Storm Warning*

[17] Sword of Orion

[18] The Stones of Venice

[19] Minuet in Hell

[28] Invaders from Mars

[29] The Chimes of Midnight

[30] Seasons of Fear

[31] Embrace the Darkness

[32] The Time of the Daleks

[33] Neverland*

[50] Zagreus*

Part 2:

[52] Scherzo*

[53] The Creed of the Kromon* (TW for sexual assault in the Creed of the Kromon. Feel free to stop listening after episode one or just read the Tardis Wiki page for relevant plot info)

[54] The Natural History of Fear

[55] The Twilight Kingdom

[61] Faith Stealer

[62] The Last

[63] Caerdroia

[64] The Next Life*

[72] Terror Firma

[75] Scaredy Cat

[77] Other Lives

[80] Time Works

[83] Something Inside

[88] Memory Lane

[101] Absolution*

[103] The Girl Who Never Was*

The Mary Shelley arc

A short arc featuring the Eighth Doctor and Mary Shelley! Yes, that Mary Shelley.

[123d] Mary’s Story*

[153] The Silver Turk

[154] The Witch from the Well

[155] Army of Death

Multi-doctor arcs:

These are mostly trilogies featuring stories which Big Finish probably mostly intended to be listened to together.

The Forge trilogy

Relevant to the Evelyn and Hex arcs - best listened to in conjunction with the rest of their stories.

[23] Project: Twilight (Sixth Doctor)

[45] Project: Lazarus (Sixth Doctor/Seventh Doctor)

[139] Project: Destiny (Seventh Doctor)

The Villains Trilogy

[47] Omega (Fifth Doctor)

[48] Davros (Sixth Doctor)

[49] Master (Seventh Doctor)

The Harvest/TheReaping/The Gathering trilogy

^^^ I’m naming it that because the other name I’d give it would be a big spoiler lol (if you saw me forget the Harvest out of this no you didn’t)

[58] The Harvest (Seventh Doctor)

[86] The Reaping (Sixth Doctor)

[87] The Gathering (Fifth Doctor)

The Brewster Arc

Thomas Brewster is also vaguely relevant to the events of Stranded with the Eighth Doctor but it’s not really important.

[107] The Haunting of Thomas Brewster (Fifth Doctor)

[113] Time Reef/A Perfect World (Fifth Doctor)

[143] The Crimes of Thomas Brewster (Sixth Doctor)

[144] The Feast of Axos (Sixth Doctor)

[145] Industrial Evolution (Sixth Doctor)

The Sorsha trilogy

[165] The Burning Prince (Fifth Doctor)

[166] The Acheron Pulse (Sixth Doctor)

[167] The Shadow Heart (Seventh Doctor)

The 1963 trilogy

These don’t really have an overarching plot as far as I can remember, they were just released as part of the 50th anniversary.

[178] 1963: Fanfare for the Common Men (Fifth Doctor)

[179] 1963: The Space Race (Sixth Doctor)

[180] 1963: The Assassination Games (Seventh Doctor)

The Companions Trilogy

[198] The Defectors (Seventh Doctor)

[199] Last of the Cybermen (Sixth Doctor)

[200] The Secret History (Fifth Doctor)

The Master trilogy

[211] And You Will Obey Me (Fifth Doctor)

[212] Vampire of the Mind (Sixth Doctor)

[213] The Two Masters (Seventh Doctor)

The Daniel trilogy

[237] The Helliax Rift (Fifth Doctor)

[240] Hour of the Cybermen (Sixth Doctor)

[244] Warlock’s Cross (Seventh Doctor) (Klein is in this one if you want to listen to her arc beforehand)

Edit/addendum:

If you’re like me, you’ve maybe been intrigued by Main Range from seeing/hearing other fans talk about some of the excellent stories there are. Personally, when I am struggling getting through a series, it helps to have a specific story or episode to look forward to. As such, here are a few of my personal favourites from the above list that are definitely worth waiting for (at least in my humble opinion):

5th Doctor:

- Warzone/Conversion

6th Doctor:

- Jubilee

- Doctor Who and the Pirates

- Arrangements for War

7th Doctor:

- Afterlife

- Master

8th Doctor:

- Seasons of Fear

- Zagreus

- Scherzo

- The Natural History of Fear

[crimsonhydrangeavn]

I really love the game demo so far. I’ve watched day 1 and 2 of the demo played by a Let’s Player I follow. The writing is beautiful and I very much like Garret.

That being said, why is the “bad” and “toxic” character the only nonbinary one? I’m nonbinary and use they/them pronouns exclusively myself, so it’s a bit painful to see the toxic ex character be the only one that’s the same gender as me, and I’m sure to other nonbinary people like me.

Can you tell me the reasoning behind making Teagan nonbinary? Or why there aren’t any redeemable characters that are nonbinary? I understand it’s just fiction, but also nonbinary people don’t really get a lot of representation in fiction especially not in dating sims.

Thank you to much for reaching out and letting me know how you found out about Crimson Hydrangea VN and how much you've enjoyed the game and Garret so far! I'm assuming the Let's Player you're referring to is Espoir Du Vide since she's the only one who I've seen make a video about CHVN. I've been following her for a little while and I'm fan of hers as well. She has a wonderful soothing voice and her jokes/memes really make me laugh!

I also want to thank you for feeling comfortable enough to send me such a sensitive and completely legitimate concern. Thank you for phrasing it in such a respectful and straightforward manner. I'm always open to all forms of feedback and am always open to learning and hearing others out.

That being said, I completely hear your concerns and I can understand where you're coming from. Unfortunately Teagan hasn't had a lot of screen time compared to others in the game (Only really showing up in Day 2). And the limited screen time that they have had hasn't really shown them in the best light.

Of course, I'll go into more depth as to why that is down below just in case people don't want to risk being spoiled.

I also summarized what I wrote below for those who don't want to risk seeing spoilers but want to know the main points of what I said.

Teagan isn't inherently bad and they are redeemable.

While their gender expression is an important part of them and their backstory, their gender isn't and should never be considered a factor as to why they're toxic.

They're toxic because of their actions, not because of who they are as a person or what they identify as.

I also apologize that Teagan's current perception is painful for you and others. That was never my intention and I'm genuinely sorry it's come across that way.

!POTENTIAL SPOILERS BELOW!

Teagan's current perception is completely overshadowed by the fact that they're your ex and you had a terrible dramatic break up. The game currently doesn't go into the decade or so of history you two have. All the sweet and meaningful moments between the two of you, how utterly devoted they were to you, how they supported you through difficult times and vice versa.

Unfortunately you're seeing them through the eyes of an ex who is still processing a rough break up and suppressing/ actively ignoring all of the positive traits they originally fell in love with.

That being said, I will say that Teagan has to be one of the most complex characters I've written. Yes, they are flawed but that doesn't mean they are inherently "bad". Their negative actions are currently overshadowing their positive traits. Teagan does have the capability to grow and learn and improve themselves, if you decide to go down that route in the game.

There were several reasons why I made Teagan nonbinary, and I can assure you that none of them were malicious or ill intended.

I don't necessarily want to go into all of the reasons as to why I made them nonbinary since I feel as though it'll spoil a few key elements about their backstory that I plan on revealing in game.

Instead I'll focus on one of the main reasons you actually mentioned in your ask, Representation.

For me, representation doesn't mean that they need to always be painted in the best light. Yes, they shouldn't be painted in a stereotypical or hateful way, but I also don't think they should be shown as perfect and flawless.

You see, I personally adore character development. A complex and flawed character who learns and grows from the people and situations around them to become a "better person" is my favorite kind of character arc.

What better way to honor Teagan than to show their journey of character growth during Crimson Hydrangea? Or at least that's what my thought process is/was.

I also wanted to mention that Teagan and Garret were created to be foils of each other. Yes, they're both yanderes, but they're still completely different kinds of people.

Garret comes off as very sweet and charming because you're only seeing him on a surface level. That perfect version of Garret is a facade he wears for you and others. There's a deep rooted darkness to him that you'll see in later days and you'll discover just how horribly toxic he is/can become. (Perhaps even more so than Teagan...)

Teagan on the other hand, has already shown you their toxicity. It's all come to light because of the break up and there's no hiding from it. You know them better than anyone else and that has it's pros and cons. Depending on the route you choose, they can either dig their heels in and become the worst version of themselves, or they can finally face reality and take accountability for their actions and start to heal as a person ( and potentially as a partner if you so choose.)

I hope my in depth explanation has helped you understand where I'm coming from and see that there was no intended slight meant towards those who identify as nonbinary.

With all of that being said, I will apologize that Teagan's current perception is painful for you and others. That was never my intention and I'm genuinely sorry it's come across that way.

[gogandmagog]

As to advising beginners—why, I love to do it. Advice is so cheap and easy. First, I always tell them what an old lady used to say to me: "Don't marry as long as you can help it, for when the right man comes along you can't help it." So—don't write if you can help it; because if you ought to write and have it in you to make a real success of writing you can't help it. If you are sure you can't help it, then go ahead.

— L.M. Montgomery, 1923, from Fiction Writers on Writing Fiction

Below the cut, I’ve included L.M. Montgomery’s submissions to ‘Fiction Writers on Writing Fiction,’ which may be (obviously) best summed up as… Maud’s writing advise for beginners. Mind, it is still a thoroughly enjoyable read, even if you don’t write, and would really simply just like to hear more about her process!

QUESTION; What is the genesis of a story with you—does it grow from an incident, a character, a trait of character, a situation, setting, a title, or what? That is, what do you mean by an idea for a story? L. M. Montgomery: The genesis of my stories is very varied. Sometimes the character suggests the story. For instance, in my first book, Anne of Green Gables, the whole story was modeled around the character of "Anne" and arranged to suit her. Most of my books are similar in origin. The characters seem to grow in my mind, much after the oft-quoted "Topsy" manner, and when they are fully incubated I arrange a setting for them, choosing incidents and surroundings which will harmonize with and develop them.

With short stories it is different. There I generally start with an idea—some incident which I elaborate and invent characters to suit, thus reversing the process I employ in book-writing. A very small germ will sometimes blossom out quite amazingly. One of my most successful short stories owed its origin to the fact that one day I heard a lady—a refined person usually of irreproachable language—use a point-blank "cuss-word" in a moment of great provocation. Again, the fact that I heard of a man forbidding his son to play the violin because he thought it was wicked furnished the idea for the best short story I ever wrote. QUESTION; Do you map it out in advance, or do you start with, say, a character or situation, and let the story tell itself as you write? Do you write it in pieces to be joined together, or straightaway as a whole? Is the ending clearly in mind when you begin? To what extent do you revise? L. M. Montgomery: I map everything out in advance. When I have developed plot, characters and incidents in my mind I write out a "skeleton" of the story or book. In the case of a book, I divide it into so many "sections"—usually eight or nine—representing the outstanding periods in the story. In each section I write down what characters are necessary, what they do, what their setting is, and quite a bit of what they say. When the skeleton is complete I begin the actual writing, and so thoroughly have I become saturated with the story during the making of the skeleton that I feel as if I were merely describing and setting down something that I have actually seen happening, and the clothing of the dry bones with flesh goes on rapidly and easily. This does not, however, prevent changes taking place as I write. Sometimes an incident I had thought was going to be very minor assumes major proportions or vice versa. Sometimes, too, characters grow or dwindle contrary to my first intentions. But on the whole I follow my plan pretty closely and the ending is very often written out quite fully in the last "section" before a single word of the first chapter is written. I revise very extensively and the "notes" with which my completed manuscript is peppered are surely and swiftly bringing down my typist's gray hairs with sorrow to the grave. But these revisions deal only with descriptions and conversation. Characters, plot and incidents are never changed.

QUESTION; 1. When you read a story to what extent does your imagination reproduce the story-world of the author—do you actually see in your imagination all the characters, action and setting just as if you were looking at an actual scene? Do you actually hear all sounds described, mentioned and inferred, just as if they were real sounds? Do you taste the flavors in a story, so really that your mouth literally waters to a pleasant one? How real does your imagination make the smells in a story you read? Does your imagination reproduce the sense of touch—of rough or smooth contact, hard or gentle impact or pressure, etc.? Does your imagination make you feel actual physical pain corresponding, though in a slighter degree, to pain presented in a story? Of course you get an intelligent idea from any such mention, but in which of the above cases does your imagination produce the same results on your senses as do the actual stimuli themselves?

2. If you can really "see things with your eyes shut," what limitations? Are the pictures you see colored or more in black and white? Are details distinct or blurred?

3. If you studied solid geometry, did it give you more trouble than other mathematics?

4. Is your response limited to the exact degree to which the author describes and makes vivid, or will the mere concept set you to reproducing just as vividly?

5. Do you have stock pictures for, say, a village church or a cowboy, or does each case produce its individual vision?

6. Is there any difference in behavior of your imagination when you are reading stories and when writing them?

7. Have you ever considered these matters as "tools of your trade"? If so, to what extent and how do you use them? L. M. Montgomery: Yes, when I read a story I see everything, exactly as if I were looking at an actual scene. I hear the sounds and smell the odors. When I read Pickwick Papers I have to make many an extra sneak to the pantry, so hungry do I become through reading of the bacon and eggs and milk punch in which the characters so frequently revel. I never feel physical pain when I read a story, no matter how intense the suffering described may be. But I feel mental pain so keenly that sometimes I can hardly bear to continue reading. Yet I do not dislike this sensation. On the contrary I like it. If I can have a jolly good howl several times in a book I am its friend for life. Yet, in every-day existence, I am the reverse of a tearful or sentimental person. No book do I love as I love David Copperfield. Yet during my many re-readings I must have wept literal quarts over David's boyish tribulations. And ghost stories that make me grow actually cold with fear are such as my soul loveth.

I can "see things," with eyes shut or open, colors and all. Sometimes I see them mentally—that is, I realize that they are produced subjectively and are under the control of my will. But very often, when imagination has been specially stimulated, I seem really to see them objectively. In this case, however, I never see landscapes or anything but faces—and generally grotesque or comical faces. I never see a beautiful face. They crowd on my sight in a mob, flashing up for a second, then instantly filled by others. I always enjoy this "seeing things" immensely, but I can not do it at will.

The very name of geometry was a nightmare to me. I decline to discuss the horrible subject at all. Yet I loved algebra and had a mild affection for arithmetic. These things are predestinated.

I have no "stock pictures" as a reader. I generally see things pretty much as the writer describes them—though certainly not as the "movie" people seem to see them! This is especially true of places and things. But very few writers have the power to make me visualize their characters, even where they describe them minutely. Illustrations generally make matters worse. I detest illustrations in a story. It is only when there is some peculiarly striking and restrained bit of description attached to a character that I can see it. For example: when R. L. Stevenson in Dr. Jekyll says that there was something incredibly evil about "Hyde"—I am not quoting his exact words—I can see "Hyde" as clearly as I ever saw anything in my life. As a rule, I think the ability to describe characters so that readers may see them as clearly as they see their settings is a very rare gift among writers.

Yes, as a reader I do resent having too many images formed for me. I don't want too much description of anything or too many details in any description.

When I read a story, I see people doing things in a certain setting; when I write a story I am the people myself and live their experiences.

QUESTION; When you write do you center your mind on the story itself or do you constantly have your readers in mind? In revising? L. M. Montgomery: In writing a story I do not think of all these things—at least consciously. I never think of my readers at all. I think of myself. Does this story I am writing interest me as I write it—does it satisfy me? If so, there are enough people in the world who like what I like to find it interesting and satisfying too. As for the others, I couldn't please them anyhow, so it is of no use to try. I revise to satisfy myself also—not any imaginary literary critic. QUESTION; Have you had a classroom or correspondence course on writing fiction? Books on it? To what extent did this help in the elementary stages? Beyond the elementary stages? L. M. Montgomery: I never took any kind of a course in writing fiction. Such things may be helpful if the real root of the matter is in you, but I had to get along without them. I was born and brought up in a remote country settlement, twenty-four miles from a town and ten from a railway. There I wrote my first stories and my first four books. So no beginner need feel discouraged because of remote location or lack of literary “atmosphere.” QUESTION; How much of your craft have you learned from reading current authors? The classics? L. M. Montgomery: I think I owe considerable to my greedy reading and rereading of standard fiction—the old masters—Scott, Dickens, Thackeray, Hawthorne. Occasionally, too, a well-written modern magazine story has been helpful and illuminating. But, as a rule, I think aspiring authors will not reap much benefit from current fiction—except perhaps from a purely commercial point of view in finding out what kind of stories certain magazines take! Most writers, except those of absolute genius, are prone to unconscious imitation of what they read and that is a bad thing. QUESTION; What is your general feeling on the value of technique? L. M. Montgomery: I feel that its value is great up to a certain point. But when you become conscious of a writer's technique that writer has reached the point of danger. When you find yourself getting more pleasure from the way a writer says a thing than from the thing itself, that writer has committed a grave error and one that lessens greatly the value of his story. Carried too far, technique becomes as annoying as mannerisms.

QUESTION; What is most interesting and important to you in your writing—plot, structure, style, material, setting, character, color, etc.? L. M. Montgomery: In my own writing character is by far the most interesting thing to me—then setting. In the development of the one and the arrangement of the other I find my greatest pleasure and from their letters it is evident that my readers do, too. This, of course, is because my flair is for these things. In another writer something else—plot, structure or color would be the vital thing. Only the very great authors combine all these things. For the rank and file of the craft, I think a writer should find out where his strength lies and write his stories along these lines. In my own case I would never attempt to handle complicated plot or large masses of material. I know I should make a dismal failure of them. QUESTION; What are two or three of the most valuable suggestions you could give to a beginner? To a practised writer? L. M. Montgomery: As to advising beginners—why, I love to do it. Advice is so cheap and easy. First, I always tell them what an old lady used to say to me: "Don't marry as long as you can help it, for when the right man comes along you can't help it." So—don't write if you can help it; because if you ought to write and have it in you to make a real success of writing you can't help it. If you are sure you can't help it, then go ahead. Write—write—write. Revise—revise—revise. Prune—prune—prune. Study stories that are classed as masterpieces and find out why they are so classed. Leave your stories alone after they are written long enough to come to them as a stranger. Then read them over as a stranger; you'll see a score of faults and lacks you never noticed when they came hot from your pen. Rewrite them, cutting out the faults and supplying the lacks.

I would advise beginners to cultivate the note-book habit. Jot down every idea that comes to you as you go on living—ideas for plots, characters, descriptions, dialogue, etc. It is amazing how well these bits will fit into a story that wasn't born or thought of when you set them down. And they generally have a poignancy that is lacking in deliberate invention. For example, I was once washing the dinner dishes when a friend happened to quote to me the old saying: "Blessed are they who expect nothing, for they shall not be disappointed." I retorted, "I think it would be worse to expect nothing than to be disappointed." Then I dropped my dish cloth and rushed to "jot it down." It lay in my note-book unused for ten years and then it motivated one of the best chapters in my first book. This illustrates what I mean by the note-book habit.

Practised writers should try to avoid mannerisms and stereotyped style. They won't succeed, of course, but they should try. Also, they shouldn't presume on their success and think that anything goes because they write it. QUESTION; Do you prefer writing in the first person or the third? Why? L. M. Montgomery: Personally I prefer writing in the first person, because it then seems easier to live my story as I write it. Since editors seem to have a prejudice against this, I often write a story in the first person and then rewrite it, shifting it to the third. As a reader, I enjoy a story written in the first person far more than any other kind. It gives me more of a sense of reality—of actually knowing the people in it. The author does not seem to come between me and the characters as much as in the third-person stories. W. Collins's Woman in White is a fine example of the use of the first person. It could not have been half so effective had he told it in the third. And Jane Eyre simply couldn't have been written in any but the first.

QUESTION; Do you lose ideas because your imagination travels faster than your means of recording? Which affords least check—pencil, typewriter or stenographer? L. M. Montgomery: I don't think many ideas ever get away from me by reason of slowness of recording. My aforesaid note-book habit has been of tremendous value here. I write with a pen and couldn't write with anything else—at least, as far as prose is concerned. When I write verse I always write on an ordinary school slate, because of the facilities for easy erasure. But for prose I want a Waverly pen—this is not an advertisement—I just can't write with any other! a smooth unlined paper and a portfolio I can hold on my knee. Then I can sail straight ahead and keep up with any ideas that present themselves. But these are only personal idiosyncrasies and have nothing to do with a writer's success or non-success. So no aspiring beginner need despair because his or her stationer is not stocked up with Waverly pens!

[maybeiwasjustjade]

My first hate message wow. I feel so welcomed now 🥺.

But real talk. If you’re gonna be sending messages like this, at least have the courtesy to come off anon.

I mean, I already know exactly who it is because I’ve already deleted their response from the original post. So dear anon, I hadn’t blocked you then because it seemed you were just a bit lost and decided to reply to a blog that has repeatedly showed its anti IC and Feyre critical stance.

The Feyre/Clare Beddor post was specifically written to show the main difference in what happened to both characters: consent. It was never about Feyre not being traumatized, nor her sister more so. But Feyre made the decision to go UtM, and Clare Beddor didn’t. And last I checked, being manipulated using guilt + Feyre almost asking her mate to mind-control Nesta and Elain into agreeing was not consent.

But do show up again so I can unceremoniously block you. I have no interest in engaging with people who refuse to disengage with opinions they disagree with, nor do I wish to punish myself by trying to reason with stans so obsessed with their fictional characters that they start insulting real people. The moment I deleted your comment and replaced with a warning should’ve been enough for you to know you were unwanted.

I have a life; please get one. The block button is right there.

I’m going to assume you’re hanging around waiting to see if I respond to your message, so I’ll even do you a favor and tag every single anti tag so you know which to avoid so you can enjoy your little feyre vacuum.

[writingquestionsanswered]

Not to be a downer, but I actually finished my novel and now I’m confused because I don’t want to publish it. I don’t even particularly want anyone other than maybe my two close friends to even read it. What on Earth did I write 40k words (which I know is not really long enough for a novel, but it’s still far and away the longest thing I’ve ever written) for? I know people say “write for yourself” but like… am I just wasting my time? Help?

(p.s. you can leave this off anon)

(p.p.s your blog is really great 👍)

There's No Such Thing as Wasted Writing

I'm going to tackle this two ways...

#1 - "Write For Yourself" - there's a reason this common phrase has echoed through the Hall of Writers since time immemorial. It's because it's true! Writing doesn't have to be anything more than a pastime. It doesn't have to be anything more than something you do for your own benefit and enjoyment.

I have an in-joke with family members about how any time one of us does something the least bit crafty, DIY, skilled, whatever, a particular family member will always say, "You did a great job! You should do it for a living!" Like, someone can't even crochet a Kawaii mushroom without being pressured to turn it into an Etsy dynasty, or paint a cabinet without being pressured to become the next Property Brothers. And that's such a BANANAS capitalistic mindset, isn't it? This idea that nothing can be done purely for our own enjoyment. That you can't just write a novel because you want to... you can only write it if you plan to share it or publish it? It's just so silly.

And, the thing is, we don't even apply that mentality to a lot of other things people do purely for enjoyment. No one is streaming all of Bridgerton in two nights and saying, "I enjoyed every second of that, but why did I do that? Such a waste of time!" No one spends an hour strumming their guitar under the stars on a beach, and then says, "That was so relaxing and fun, but I didn't charge for that performance and I didn't record it to sell it, so that was obviously a waste of time."

You know what I mean?

#2 - And Anyway, Practice Makes Perfect - And if you keep writing--even if you continue not to share or publish--you'll get better and better with each story you write. Which, maybe all that means is you get to appreciate your own improvement, but also, should you ever change your mind and decide to write something to share or publish, you've now spent time honing your skills. Even if those other stories never see the light of day, they're still an important foundation of the writer you become. Do you know how many unpublished novellas, novels, and short stories I have? Too many to count. Hundreds of fan-fiction and original fiction short stories I've only shared with one or two other people, if anyone. A dozen or so novels and novellas that have only been read by a few people, and some haven't been read by anyone else or have only been read by my CPs. I would never consider those stories and novels and novellas to be a waste of time, because I know every single one made me a better writer. My published work is better because I wrote those other things.

So, I hope that makes you feel better. At the very least you hopefully enjoyed writing your novel--or at least got something out of it--and you definitely honed your writing skills, which matters! ♥

•••••••••••••••••••••••••••••••••

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

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

[facewithoutheart]

Thanks for the tags @monbons & @rimeswithpurple ❤️

I’ve finally finished the first draft of my COBB which feels super good. For once, I’m not doing a multi-chapter fic but I’m pleased with how it turned out. It needs a bit of finessing at the end so I’m going to let it sit for awhile. Come back when it’s closer to posting time for last minute tweaks.

Have some cute goat content:

Simon shrugged one shoulder. “Who can say? But he’s been loved. That’s what counts.” He placed the goat gently on the ground and the little thing scrambled away, bleating like a banshee at the kids who had yet to take flight. “Of course he’s also been a right bastard. Maybe that counts more.”

Cute/deranged, same thing.

Song vibes if you need them:

Tags & original fiction thoughts below the break.

I also spent some time making piccrews of my OCs. I only like to write original fiction about love triangles with two men and a woman so here, meet Hawk, Gabriel & Zoe:

Shout out to my brown eye peeps although I forgot Hawk actually has hazel eyes. WHOOPS. We’re just gonna pretend he has flecks of green sprinkles in there that only Gabriel can see. And yes Zoe is that hot on purpose. She’s a messy bitch and I love her.

One thing I’ve been thinking about lately is the theory that words written are not words wasted. As in, don’t regret the things you wrote that aren’t published or make it into the final piece. And I’ve had to adopt that for fanfic to original writing because sometimes it’s hard looking at my, frankly ridiculous, back catalog and wonder if it wasn’t all worthless. Because in the end I spent all that time and energy writing someone else’s stories.

But this is a fruitless and, frankly, untrue line of thinking. I’ve spent years honing my ability to write plot and setting and dialogue and action and messy situations. Sure, I’ve been using someone else’s characters and outline to do so, but the skills transfer even if they do also require new ones. I would never have had the courage to take on messy characters for a romance novel if I hadn’t written Boulders or This Charming Man. These two fics directly inspired my original idea.

So I’m kind of sitting around feeling really … grateful? I guess? That I’ve taken this time, I’ve written these words, and I’ve stretched these muscles. Writing an original novel is something I’ve wanted to do since I was a kid and it feels really good to be working on one again, especially after my rather demoralizing attempt at NaNoWriMo in 2022.

Which is all just to say I’m having a good time, and all your efforts are not wasted, and does this make any sense? Maybe not entirely. And maybe you’ve skimmed it but maybe this is also something that will resonate with one of you all.

Okay now. Tagging @martsonmars, @sillyunicorn, @bookish-bogwitch, @thewholelemon, @raenestee, @cutestkilla, @skeedelvee, @artsyunderstudy, @palimpsessed, @aristocratic-otter, @you-remind-me-of-the-babe, @stitchyqueer, @run-for-chamo-miles, @larkral, @whogaveyoupermission, @moodandmist, @mooncello, @creepyspice, @ivelovedhimthroughworse & @shrekgogurt

[broadwaybalogna]

I, a Zutara shipper, would have way more fun self inserting on Mai

So why don’t I?

A short essay on self inserting, what it means, my experience, and why it shouldn’t be a problem.

So the ‘problem’ of me self inserting recently arose again with discourse surrounding a post of mine. I’ll spare you the details, but someone, in an attempt to make me look like a bad person (I assume) said that I was a “self insert”. At first, I was confused because I don’t understand why something like that would be used as an insult. Then I remembered the horrible stigmatization that self inserting has had on the atla fandom.

So I’d like to bring light to what it truly means to self insert.

For this short essay, I’ll be using the term “self insertion” as defined by Wikipedia:

“Self-insertion is a literary device in which the author writes themselves into the story under the guise of, or from the perspective of, a fictional character. The character, overtly or otherwise, behaves like, has the personality of, and may even be described as physically resembling the author of the work.”

First, I would like to go over why I would personally prefer self inserting on Mai, since it’s technically the clickbait for this post.

I had a very large emo/goth phase a few years back. I loved wearing black, chokers, being depressed, etc. while I don’t necessarily identify with that version of myself anymore, I still hold high praise to any and all people who are emo/grunge/goth/fall under that kind of category. Now, I’m not saying that Mai is emo, she’s actually the exact opposite as she doesn’t display much of any emotion, but she is a badass female character who has space buns, a fiery personality, and really cool weapons. I actually like the idea of her a bit more than Katara, and it would certainly be easy to self insert onto her since her character was never really fleshed out.

(Look at her… she’s so cool. I can’t decide if I wanna be her or be with her…) this would probably also be a great time to say that I don’t feel here nor there about Mai in fandom spaces. There are many anti Mai people out there, but I honestly don’t care much for her at this point other than what I’ve already established.

I can relate to a good portion of her problems (being the face of her family, holding their reputation, not having many friends etc.) so self inserting on to her would honestly be no problem for me. So why don’t I do it?

Because my characterization as a shipper doesn’t revolve around myself. If it did, I’d totally okay into that sarcastic brooding gf because I think it’s kinda badass.

I ship Zutara not because I personally wanna be with Zuko, but because I want Katara to be with Zuko. Does that mean that I don’t self insert onto Katara? Hell to the no.

Self inserting helps me understand a character to the best of my ability. In order to figure out how a character might act, react, or approach a situation, I have to put myself into their shoes, that’s just how I work. I don’t think this is a mindset that is personal to just me either, there are plenty of other people who self insert onto Katara and Zuko in order to best convey the realism of their stories.

Now, I’ve self inserted onto BOTH Katara and Zuko, (which probably won’t stop the haters any more than before since I am attracted to both men and women) and in each of those times, I am sure to always stay true to the original characters. I am always considering how the characters were brought up, what they have experienced that has shaped their personality and how they have behaved before.

But I can’t just rely on that to help me tell a story. I have to feel the characters. I have to know what they’re feeling and how it affects them.

This may seem weird, but when writing, I’ll often close my eyes and imagine myself in a scenario much like what the people I’m writing about are experiencing.

This is how I became well known for some of my writing.

I’ve written monologues for characters to say that reflect my own experiences to help give myself and others peace of mind.

I’ve written relationships based on flaws I’ve had with people in my life.

And I’ve written hate. Because I feel hate, and I know that Katara and Zuko do too.

Self inserting shouldn’t be viewed as something that’s horrible for authors to do, it should be embraced. There shouldn’t be a world where people can’t share their experiences through people they relate to.

If you can’t see yourself agreeing with me, I’m sorry, but I don’t think we’ll ever see eye to eye. This is something that I am passionate about, and I will not be thrown off my stance because of a small insult.

In conclusion, I could very easily self insert onto Mai, you could even say it would be lemon squeezy, but self insertion isn’t the only thing that drives me to ship characters, and it never will be. I am a complex person with complex emotions that have led me to look at Katara and Zuko and envy their relationship. Yeah, I want it, and there shouldn’t be anything wrong with that.

[princessbrunette]

im not a big john b girlie but you write him so well! your most recent one w toxicex!reader n all was so well written!

you seriously nail dialogue so well, they feel so human and their dialogue conveys such nuance and glimpses into their personality and motivations. i'm genuinely such an impressed by writing and incredible skill, you have such a seamless way with words, painting a really charged, and clear image of these characters and scenarios.

p.s some questions if youre willing to answer !

what got you into writing fan fiction?

do you write your own original stories, or are you more happy and comfortable exploring these fictional worlds as is?

would you say writing is an outlet for you, from life, or drama, or work?

when it comes to dialogue, what do you think is more important - what is said or what isn't and

do you have any particular literary inspirations for dialogue (i.e a film with good dialogue like 'before sunrise' or a novel like 'normal people' or something) or are you more thinking of just real, conversations or straight from shows (like outerbanks, and etc) and watching how they talk rather than trying to emulate any other style?

sorry if this sounds like an interview or if this is a bit much or overwhelming. i've been reading your stuff for like a good year now, and i'm just curious!

adore your work, hope all is well sending hugs n love :)) x

this is literally so sweet <3 made me so happy tysm!! of course i’ll answer ur questions ♡

what got you into writing fan fiction?

well tbh i’ve been writing ‘fanfiction’ since before i knew what it was. i’ve mentioned a few times on this blog but i had this little notebook (that i still have!) where i’d write loads of self insert stories when i was roughly 9-10 years old. i would insert myself into my favourite disney shows with the characters i had a crush on etc. it was my favourite thing to do, id bring my notebook with my everywhere and it could keep me entertained for hours! that’s probably where i got my start.

do you write your own original stories, or are you more happy and comfortable exploring these fictional worlds as is?

on tumblr particularly i’m more comfortable adapting universes that already exist because i enjoy the community i can / have built off relating characterisations with other people on the internet. i can have some sort of semblance of whether or not im doing an okay job based on the feedback. however, i grew up writing for a stage / screen too, which i’ve recently gotten back into and i do deeply enjoy creating a universe from scratch.

would you say writing is an outlet for you? from life, drama or work?

not particularly! moments in my real life have absolutely inspired by writing but i’m not sure i use it as an escape. as someone with autism, routine is really important to me. i write as part of my routine mostly every single day whether i post something or not — and if i don’t write i actually feel pretty thrown off. i also write in other forms, for example i love journalling. i think if anything were to be an outlet it would be that.

when it comes to dialogue, what do you think is more important? what is said or what isn’t?

that’s a really interesting question and honestly i’m not sure! i think it varies from fic to fic. i do think what isn’t said can be very powerful, however i believe in order to grasp what is being conveyed without words the reader would really need to understand the character — and to my understanding not every reader does. not only do i know that based off requests i receive occasionally trying to force characters into boxes i personally think they do not belong — but not everyone is here to understand, period. some readers are casual readers, just here to thirst because they saw a couple of edits they liked (which is great, no problem with that!) in which case i like to make my writing accessible to everyone and i try to make their intention as verbatim as possible.

do you have any particular literary inspirations for dialogue (i.e a film with good dialogue like 'before sunrise' or a novel like 'normal people' or something) or are you more thinking of just real, conversations or straight from shows (like outerbanks, and etc) and watching how they talk rather than trying to emulate any other style?

not any that i can remember! i focus more on trying to make my characters seem like they stepped directly off the show even if it’s based in an au. i want readers to be able to hear the intonation in their voice, understand why they’d stutter when they did, see their facial expression as they say it in their head the same way they would if they were watching outerbanks. however, when i read over my drabbles — i often reimagine them as if they were adapted to a film instead. i would give anything to watch all of my drabbles on a private screen, each of them produced in a sofia coppola style of cinema. that would be really fun and girly and aesthetically pleasing i think.

i hope that answered your questions adequately !! 🩷

[bettyshoweduptotheparty]

what was it like as a gaylor before 2016?

What an appropriate question on the 10 year anniversary of the kaylor public launch at the VSFS 2013 :) As it's quite a subjective question, prepare for my gaylor/kaylor origin story 😉

I've been a more committed Taylor fan since Red came out in 2012, but because I'm in the UK a lot of the public media buzz about her has passed me by (except for the headlines about her and Harry, that was definitely a big story over here). In spring 2013 the article about her and Dianna exploded on the internet and, despite it obviously being retracted, it perked my ears up because 1. I was also a big glee fan at the time, and 2. it seemed to offer an explanation to why I found her music so relatable having just had my heart broken by a girl and all her genderless breakup songs fit that situation so well. So, I did a bit of research and quickly realised that, if she was in fact with Dianna, it would have been at the same time that she was supposedly dating Harry, as well as that Kennedy guy. No public acknowledgement of any queerness (like ever) so it was very clear to me from the start that, if she is dating women, she is doing it very much in secret. Not a great inspiration for fairly newly out me (23 at the time), so I filed that information and moved on with just her music. Didn't really think about it again until over a year later when a guy in a club decided to bully me and my then gf with the sentence 'Are you a real couple or just bffs like Taylor Swift and that model chick?' Yep, my kaylor origin story is a straight man harassing me in a nightclub. What are the odds, right? 🤭

So, because that remark somehow stuck with me (and I had no idea who that ' model chick' even was) I googled it, expecting to find something similar to the Dianna situation and my jaw hit the floor when I got pages and pages of photos of Taylor and Karlie walking the streets of NYC holding hands, smiling at each other with the biggest heart eyes. It genuinely changed my life. It may sound totally stupid and out of proportion, given that they didn't acknowledge it as a relationship (which I'm aware was doing no favours to lesbian visibility), but it did something to me to see the girl whose music I'd danced to in my bedroom when I was 16 so happily in love with another girl. I'd never seen that sort of love between two women, either in fiction or in real life, and it felt like she'd reached across the miles dividing us to tell me that it's possible, and that if she could find it (even in hiding), I could, too. And somehow it didn't matter to me what they were calling it, I could see what it was and it was everything to me. But I only had a few months to enjoy it before kissgate ruined it and of course the tabloids printed words like 'affair' and ‘scandal' and by March the next year we had Calvin Harris, then Hiddleswift, and then Joe. But at the same time, we got 1989 and rep with some of the gayest music ever written. And I found a great community of fellow queer people on here in those years that seemed to enjoy watching them and seeing their lives in the lyrics as much as I did. I’ve dipped in and out of the online space for years, lurking when there were more kind people around and disappearing when the hate got worse. It was fun to watch it all unfold in real time with people, I’m impressed that people still become new kaylors these days when there is no real time interaction and the hate from the general fanbase towards Karlie is still high since 2018. I don’t think I would be a gaylor today if I hadn’t witnessed their love in front of everybody’s eyes in that year, that really made me resilient to setbacks because I’m just so irretrievably in love with their love story. I’ve seen how Taylor lashes out when she’s cornered and scared (like she did after kiss gate) and sometimes we’re the collateral damage of that. And as much as that sucks it just shows that she’s incredibly protective of her little bubble of happiness and the more you poke the bear the more savage she’ll be in her retaliation. Do I wish she didn’t throw her most loyal supporters off a cliff every time she needs a straight excuse? Of course! But have I also hurt people I care about to protect my loved ones? Yes. So I can’t really judge. I can just take a walk when it gets too much, and wait for the soft shit to pull me back in.

So, to summarise, being a gaylor has always (and will always) have highs and lows, the public narrative is never for us, only the music is. But that's ok with me, I've learned to tune the noise out and enjoy the music, reminding myself that those songs were inspired by one of the greatest love stories I've ever accidently stumbled upon.